Section B: Literary Terms 4. Dramatic Monologue A long speech delivered by a single person is known as a monologue. A soliloquy occurs when a character in a play delivers a monologue, in which he or she shares personal ideas. Dramatic monologue, on the other hand, is a form of lyric poem and not a component of a play. While the dramatic monologue has roots in Greek theatre and in the writings of Romantic poets like William Wordsworth and Samuel Taylor Coleridge, it was developed in the Victorian era and is still used today. Early pioneers were Dante Gabriel Rossetti, Christina Rossetti, Robert Browning and Alfred Lord Tennyson. In their dramatic monologues, a fictional character talks without interruption to an audience, providing crucial information about his or her personality, circumstances, deeds or emotional condition. Subtlety of characterisation and complexity of the dramatic circumstance are two aspects of the form that Browning contributed, which readers gradually put together from the speaker's tangential remarks or asides. The subject being discussed is typically much less intriguing than what is unintentionally disclosed about the speaker. In Browning’s “My Last Duchess” (1842), an Italian aristocrat shows his harshness to his late wife while displaying a portrait of her. The 20th century witnessed continued use of the style. T S Eliot and Ezra Pound both created persona poems during the Modernist era. Despite the predominance of confessionalism' in poetry during the 1950s and 1960s, Gwendolyn Brooks, John Berryman and Sylvia Plath each made significant contributions by penning dramatic monologues that addressed issues such as the urban African-American experience, mental illness, addiction and suicidal thought. Robert Browning’s poem “My Last Duchess” is among the most well-known examples of a dramatic monologue. This is an illustration of a conversational monologue in which the speaker, a Duke, is displaying a picture of his late wife to a home visitor. The speaker appears to be discussing his wife in a nostalgic and affectionate manner at the opening of the poem, as one might anticipate. As the poem begins: That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said “Fra Pandolf” by design, for never read The form was also employed by other Victorian poets. The dramatic monologue “Hymn. to Proserpine” (1866) by Algernon Charles Swinburne has been compared to Browning’s writing in several ways. “The Raven” (1845) by Edgar Allan Poe is one of several well- known poems in this genre that have been produced by American poets. Examples from ——— 1 ‘Confessional poetry’ designates a type of narrative and lyric verse which deals with the facts and intimate ‘mental and physical experiences of the poet’s own life.8 Selections from Literatures in English the post-Victorian period include “The Gift of Harun Al-Raschid’” (1924) by wi} Yeats, “The Love Song of J. Alfred Prufrock” (1915) by TS Eliot and “Crags 2 Bile (1971) by Elizabeth Bishop. in Englang: The majority of dramatic monologues ~ if not all - share a number of characte single speaker must perform a monologue, with only extremely brief breaks, if an °.4 have to provide light on a character's goals, viewpoint and interiority. While mond are not limited to a certain topic or range of topics, they must have a purpose and contri to the audience's knowledge of both the speaker and the overall piece. A monologue st be of any duration, but usually they go long enough for the audience to realise that en, one character is speaking. As a result, they pay more attention to that character. Often, monologues are used to convey crucial information. Types of Dramatic Monologues Romantic Monologues Romantic monologues are poetry in which a character discusses a romantic relationship = past, present or desired. Anthony Hecht’s “Dilemma’ (1958) is an illustration of romantic monologue. “Since both of them delight, if I must choose Iwin a matchless mate, But by that very winning choice I lose - I pause, I hesitate, Putting decision off,” says Columbine, “And while I hesitate, they both are mine.” | | Conversational Monologues Poetry pieces called conversational monologues depict the dramatic monologue as if were a conversation, “The Eolian Harp” (1796) by Samuel Taylor Coleridge is an example of a conversational monologue. My pensive Sara! thy soft cheek reclin’d Thus on mine arm, most soothing sweet it is. To sit beside our cot, our cot o'er grown With white-flower'd Jasmin, and the broad-leav'd Myrtle, (Meet emblems they of Innocence and Love!) And watch the clouds, that late were rich with light, Slow-sad’ning round, and mark the star of eve Serenely brilliant (such would Wisdom be) Shine opposite! How exquisite the scents Snatch’d from yon bean-field! and the world so hush’d! The stilly murmur of the distant Sea Tells us of silence.ary terms 9 il sophical Monologues nical monologues are poetry ; prilOsOP ‘i Poetry in which th , we : G \ ing the B; i ritten a Few Miles 8) is an instance of a philosophical ace the Wye During a Tour, July 13, 1798” If this, 7 pe but a vain belief, yet, oh! how oft, indarkness, and amid the many shapes ofjoyless day-light; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart, How oft, in spirit, have I turned to thee Calis Osylvan Wye! Thou wanderer through the wood f More V How often has my spirit turned to thee! Fuller? pore y Filey ot 2.Bildungsroman Rens ts q _ Tov g ABildungsroman is a kind of coming-of-age tale that focuses on a young protagonist's intellectual, ethical and spiritual development as he or she approaches adulthood. Though the genre is supposed to have started in Germany, Bildungsroman novels feature awide variety of global personalities and historical periods. These books explore how the protagonist's intellect and character change as they grow from childhood through a variety of experiences - and sometimes even a spiritual crisis — to adulthood. Typically, this process includes realising one’s identity and place in the world. The genre first appeared in Germany with Karl Philipp Moritz’s Anton Reiser (4 volumes; 1785-90). The narrative style continues to appear in Charlotte Bronté’s Jane Eyre (1847), Charles Dickens’ Great Expectations (1861), George Eliot’s The Mill on the Floss (1860) and Thomas Mann's The Magic Mountain (1924). (1924). ABil icts the maturation or ‘coming of age’ of a typically naive character who a ere o's big questions in the hope that doing so will give him or her More life experience. The genre arose from traditional tales of a young person venturing Cut into the world to seek his or her fortune. The protagonist often embarks on a trip ater experiencing an emotional loss at the beginning of the navel. The protagonist of a ildungsroman strives towards maturity, which is something they bad ian Ae a has Painfully. The primary conflict in this genre frequently involves t e — individual and Society, The votagonist often comes to embrace society's ideals through ae and crentoatl ot Pp oe him or her as well At this point, the protagonist's mistakes and heartbresv iety a some stories, the protagonist matures to the point where they irate ue Passe an Bent ‘Although the Bildungsroman’s action may be tempered by resier cut and assist oer “often concludes on a good note. If the intrepid hero's high t8hation and nostalgia, ‘9 are a lot of errors and heartbreaking letdowns, and, goals are accomplishes then so eof usefulness lies ahead. Yet, the Bildungsroman, a ely eee ves en resignation or death in the 20th century and beyond. 8p wioe Selections from Literatures in English Although the phrase ‘coming-of-age’ is commonly used to refer toa Particular kind of narrative, the Bildungsroman genre is far more defined. A Bildungsroman is what the German word for ‘novel of education or apprenticeship’ or ‘novel of formation’ implies, The word root ‘bildung’ more accurately refers to ‘self-cultivation” in Goethe’ 's context, This term is essential to the Bildungsroman subgenre and prevents it from being used interchangeably with any other coming-of-age novel. ; According to conventional definitions, a young man from the countryside pursues his fortune in the city and goes through the process of education in the ways of the world before finally coming to terms with it. However, even in this simplified formulation, there are important variations: a young woman goes through a process of worldly or sentimental education and reconciles herself to her fate, sometimes through marriage; or, a young man or woman goes through a process of aesthetic, worldly or sentimental education (sometimes all three at once), and succeeds as a writer or an artist. The Kiinstlerroman, also known as an ‘artist's novel,’ is a significant subtype of the Bildungsroman. It depicts the growth of a novelist or some other artist from childhood to the stage of maturity that denotes the protagonist's realisation of his or her artistic destiny and mastery of a particular art form or craft. Stages in a Bildungsroman A typical Bildungsroman will chronicle the path of the protagonist through four distinct stages: 1. Cataclysmic Occurrence The protagonist will usually go through a significant incident while still a child or a young adult, which triggers a journey. This incident could also be a devastating loss that profoundly changes the protagonist's life. 2. Journey Following the incident, the protagonist embarks on a journey ~ either literally or figuratively. The journey stands for the kind of growth and learning that typically results in a greater comprehension of oneself and the outside world. 3. Conflict and Personal Growth The protagonist, who is frequently rebellious, will encounter challenges along the path, make errors, and deal with conflicts as they attempt to fit into the enforced order of the greater society. 4. Maturity Ultimately, the main character can go back home to assist others in maturing. Some instances include finding a means to function within the social structure or developing a higher level of moral consciousness. In some more recent occurrences, the pass away. y couldSection B: Literary Terms 101 Themes of a Bildungsroman Individual vs Society ‘The conflict between a person and the society at large is an important thematic focus. The protagonist battles this dilemma because he/she struggles to conform to the standards of the fociety. The characters only change and come to terms with the ideals they battled against through their own journeys. Traditional Bildungsroman books resolve the protagonist's problem by reintegrating him or her into the society. Modern Bildungsroman works, however, defy this and have the society change in the end. The society's ideals advance and evolve instead of the protagonist having to compromise and adjust. Loss of Innocence ‘There are other types of loss apart from emotional loss in Bildungsroman books. The fading of innocence is an important trope. The characters lose their naivete once they understand how the real world operates. They can only mature and evolve as a result of losing their innocence. 3. Picaresque Novel [vy € ‘A picaresque novel tells the story of the exploits of a roguish yet ‘appealing hero,’ typically from a lower socio-economic level, who makes a living off his wits in a crooked world. Realistic writing is usually used in picaresque literature. Comedy and sarcasm are also frequently present in a picaresque novel. While the expression ‘picaresque novel’ was first used in 1810, the gente really dates back to imperial Rome in the Ist and 2nd centuries CE, namely in works like The Satyricon (late 1* century AD) of Gaius Petronius. The Golden {Ass (late 2nd century AD) by Apuleiusis another Roman work thathas picaresque elements. Lucius is followed in a series of short stories as he makes an effort to master magic. Lucius, the protagonist, unexpectedly transforms himself into a golden donkey in one of the episodes. It is a humorous narrative that, like previous picaresque books, comprises shorter “a scert stories’ that can stand alone or be incorporated into the main plot. The Spanish word ‘picaro’ (meaning ‘rogue’) refers to a con artist or trickster who survives on his wits and through a lengthy string. of adventures, without significantly changing as a person. Picaresque literature is realistic in style, episodic in layout and frequently satirical in intent, One prime example of the genre is Cervantes’ magnificent quasi-picaresque story Don Ouixote (originally titled The Ingenious Gentleman Don Quixote of La Mancha), published in two parts in 1605 and 1615, which focuses on a fascinating lunatic, who strives to live up to the ideals of chivalric romance in the actual world, to examine how illusion and reality interact in human existence. The picaresque novel is typically anti-romantic in tone. The romance, courtly unions and chivalry of medieval literature are all harshly criticised. The picaresque novel throws light on the real, often under-portrayed facets of the society. The Man-Eater of Malgudi (1961) is a picaresque work by the Indian author, R K Narayan. ‘Arabian literature and folk tales were also a major influence on the early picaresque books. Due to the Moorish presence in Spain, Arabic literature has been extensively read and ite folk tales are well known. There are numerous parallels between the picaresque ook and the ‘Magamat literary form, which has its roots in Iran. These tales frequently ¥ heabich Novels ¥Reflecton af Society zmin English Selections from Literatures in Ens] 102 ive on presents from individual they have charms e include wandering nomads who survive with their words and through deception. Elements of a Picaresque Novel ibbard, which was first pub d Addison Hibbard, wh Publisheg uae conve tional Hetry,of WlStn eee tive style is characterised by seven clemen in 1936, holds that the picaresque book a ayia all or part of which an author may use for effect ee * A picaresque narrative is typically written first person. : . * Frequently, the main character is from a poor Soe eae fae is character, He o; she survives on his or her wits and very infrequently chooses ke a * — There isn’t much of a plot. The narrative is presented as a collection of hap! zardly related experiences or episodes. * The primary character doesn’t undergo much, if any, character growth. A picaro is: Picaro forever. Even if his or her circumstances could alter, this seldom ever leads toa change of heart. * The picaro’s tale is conveyed through simplicity of language or authenticity. * Satire can occasionally have a significant role. * Ina picaresque novel, the protagonist's actions err on the side of lawlessness. The Picaresque hero is shown as a lovable outsider, who is unaffected by the false social Rorms and the carefree or immoral rascality. The picaresque novel's final demise, which resulted in a sharp decline of its artistic Superiority, occurred in the middle of the 18th century, as a reeule of the emergence of the realistic novel with its tighter, more detailed storyline and deeper character development. snare the picaresque novel blending of characters rom ae se walks of life, its vivid descriptions of businesses and professions, its realistic language and details, and most jarani ironic and detached survey of manners and eee provided opportunites for satire and contributed to the realistic novel’; : sd i 9th centuries. The picaresque novel does not seem to make eabeent 8 the 18th and ! il an a ‘ il part of naturalism’s? popularity is replaced by existentialie eS substantial comeback until part 4. Imageryxouel «4 — enoliid Gome ideq & wilh pho ca Imagery isa literary device where writen nf AIC | up a visual or Sha ee rStesdet to he use of figurative language tocorit® i tl ; sight, taste, smell, touch and ara State Writers descriptive language and figures of s ech, Pe intern, description that engage. Pech, Po the name implies, ‘imagery’ rej can evoke the readers’ senses! ‘al emotion and sentiments, by using wiry uses imagery as a vivid and coloutl € auclience, Contrary Pt 2 Naturalism: Literary naturalism, place, a strony of sensory experiences, inclu representing realy in erature 15 EMPhasis on obse is : Existentialism is ay ° ears Yan influentiay PhilosophicalSection B: Literary Terms tad internal emotions and bodily sensations. It is not just concerned with visual or mental representations. In“I Wandered Lonely as a Cloud” (written 1804, published 1807), William Wordsworth employs imagery to depict the overwhelming sensory potential of afield of daffodils: “The waves beside them danced, but they Outdid the sparkling waves in glee: ~ ‘A Poet could not but be gay Insuch a laughing company: I gaz’d — and gaz/d ~ but little thought What wealth the shew to me had brought:” ‘Through the use of imagery, the reader experiences outright by being able fo clearly see, touch, taste, smell and hear what is happening. In certain situations, this causes the reader to feel empathy for the poet or the topic. The use of imagery enhances and amplifies the poetic creation, whether it is in William Shakespeare's classical sonnets or the scathing social commentary of poets from the African diaspora like Langston Hughes. Literal and Figurative Imagery ‘The distinction between literal and figurative imagery is minor. Literal imagery, as the name implies, is practically identical to what is being described or said. Yet in the use of imagery, a thing is frequently not what it seems to be. Hyperboles, similes and metaphors are frequently employed to create an impression that can be distinct from the item or the person in question. Seven Categories of Imagery in Poetry Visual Imagery This type of poetic imagery uses words to describe something the speaker or the narrator of the poem directly witnesses in ‘order to engage the reader's sense of sight. Colours, Sizes, forms and patterns can be used as aspects of visual imagery. Poets frequently ification in their descriptions to give readers a visual utilise metaphors, similes or person impression. “I Wandered Lonely as a Cloud,” from the collection Poems, In Two Volumes ‘am Wordsworth, provides an apt example: (1807) by Wi “{ wandered lonely as a Cloud That floats on high o'er Vales and When alll at once I saw a crowd A host of dancing Daffodills; Along the Lake, beneath the trees, ‘Ten thousand dancing in the breeze.” With the help of comparison, the poet correlates his lone wandering to the aimless flight of a cloud in this poem, which was inspired by a stroll Wordsworth made with his sister. He also humanises the daffodils, which dance like a bunch of wild merrymakers. Hills,= Selections from Literatures in English Auditory Imagery ld h This mt tory sense. It could have cacoph hain ch Men a ee na suns ening 71Oud recreates the aural experience since the poet may utilise a sound replicating techniga, like Cnomatopoeia, or words that imitate sounds, in addition to describing a sound. For of ance; Edgar Allan Poe in his poem “The Bells” (1849) elaborates upon the distinct stat, Of ringing of bells, delving into the evoked emotional states as well as the transition fr: Pleasant to painful stages of life: “Oh, the bells, bells, bells! What a tale their terror tells Of Despair! How they clang, and clash, and roar! What a horror they outpour On the bosom of the palpitating air! Yet the ear, it fully knows, By the twanging And the clanging, How the danger ebbs and flows,” Gustatory Imagery By expressing a flavour, the speaker or the narrator of the poem enjoys as the poet engages the reader's sense of taste in this type of poeticimagery. It could have flavours like sweetness, sourness, saltiness, savouriness or spiciness. This works particularly well when the poet describes a flavour that the reader has already had and can remember. Walt Whitman used some unsettling gustatory images in his poem “This Compost” (1856): “O how can it be that the ground itself does not sicken? How can you be alive you growths of spring? How can you furnish health you blood of herbs, roots, orchards, grain? Are they not continually putting distemper‘d corpses within you? Is not every continent work'd over and over with sour dead?” Tactile Imagery temperatures, the feel of fabrics and various bodily sensations, Reginald Shepherd use tactile imagery beautifully in “To Be Free” (published as part of hie collection Red Cit! Weather in 2011) to metaphorise the feeling of cold weather, and how the vibrational ener8Y of musical notes influences his physicality, alongside his soul, to make him feel war™: “It’s winter in my body all year long, I wake up with music pouring from my skin, morningSection B: Literary Terms 105 purning behind closed blinds, Dead light, dead warmth on dead skin cells, the sky is wrong again. Hope clings to me like damp sheets, lies to my skin. As if I were a coat wearing my bare body out on loan,” olfactory Imagery By portraying what the speaker of the poem inhales, the 7 ont in thi Ker , the poet engages the reader’s sense of scent in this type of poetic imagery. Inviting or repulsive smells are often described using olfactory imagery. H W Longfellow’s “Rain in Summer” (1866) provides examples of olfactory imagery used in poetry. “They silently inhale The clover-scented gale, And the vapours that arise From the well-watered and smoking soil.” Kinesthetic Imagery ‘The poet makes use of the reader's feeling of motion while using this type of poetic imagery. Organic Imagery The poet conveys deep-seated feelings like fear, love and sorrow, as well as states like exhaustion, hunger and thirst, using organic imagery. 5. Enjambment Enjambment is a literary technique in which an idea or a notion from one line of poetry is carried over to the following line without a grammatical break. Enjambment occurs when the final syllable of a poetic phrase continues past the conclusion of the poetic line. Enjambment is the use of insufficient syntax as a line veo in poetry ea in ae iti sense of ‘running over,’ or ‘stepping over,’ from one ic ine to eet Punctuation. ‘The French verb enjamber, meaning ‘to straddle or invade’, is claimed to be the word's origin sent that eoved wen the word ; in meaning produces a tension that is relieved when the word or Reece arenas re syne is reached (known as the rejet). The reader is moved smoothly and quickly ~ without interruption ~ to the following line of the poem when a line is enjambed since an enjambed line often lacks punctuation at its line break. The tension is caused by the ‘mixed message’ given by the stop at the end of the line and there is an invitation for the incomplete meaning to continue. Despite what could seem to be a conflict between enjambment, which delays closure, and rhyme, which heightens it, the method works well with rhymed poetry: Enjambment frequently produces free-flowing poetrySelections from Literatures in English 106 re is an illustration of enjambment in wy, Calm and Free” (1802), where a sem lity n at the end: Colon i that emphasises unexpected rhythms. Her Wordsworth’s “It is a Beauteous Evening, positioned in the middle of a line rather that The holy time is quiet as a Nun Breathless with adoration; the broad sun Is sinking down in its tranquillity; Effects of Enjambment in Literature * Itaccelerates the poem's tempo and gives it a sense of urgency or tension. + Enjambment can mimic the flow of ideas and feelings. * Sentences that span numerous lines might make the poem’s rhythm more fluid + Enjambment occasionally throws off the poem’s flow. * Enjambment aids in the text's compliance with specific meters, such a iambic pentameter. Enjambment is a crucial element because it gives the author control over the Poem's flow and enables them to project the poem’s content through the rhythm of the text. For instance, Rossetti’s poem “A Birthday” (1862), which explores the joy of falling in love, ues enjambment to let readers flow from one phrase to the next, simulating the speaker's feeling of pleasure as she blissfully cruises through life with her beloved. While there aren't many thymes in the poem, enjambment, not rhyme, gives it a free-flowing, lyrical sense. Poet has patterns and rhythms that affect how a poem flows for readers since itis regarded asan organised kind of writing. As a result, the ending of a verse is important for this flow. Ther are two possible ways for a verse in a poem to end: end-stop and enjambment, End-stop vs Enjambment End-stops are literary devices used in Poetry that involve a halt at the conclusion of lie of verse. Punctuation, such as a period, comma, semicolon, or any other punctuation it iDdicates the conclusion of a whole phrase or sentence, is usually used to signify end-stes I the lyrical line represents the logical conclusion of a whole thought end-stops canal stated without punctuation. End-stops are a common characteristic in poetic nes be they allow for a pause at each line break inside a verse. The formal at esture of poens* of poetry, because they provide a pause that is often accentuated, As « literary tech enjambment is the opposite of an end-stop, Without any punctuation or sign of con® enjambment permits anotion to continue after aone line beck continue into the ™" Examples of Enjambment © Charlotte Bronté’s poem “The house was sti i vi enjambment to present a haunting. quality: Still, the room was still 1915)Section B: Literary Terms 107 ‘The house was still, the room was still, Twas eventide in June; ‘A caged canary to the sun ‘Then setting, trilled a tune. ‘A free bird on that lilac bush William Shakespeare's Hamlet (1599-1601) uses enjambment for the thought processes of the character: To be, or not to be: that is the question: Whether ’t is nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, ‘And by opposing end them? To die: to sleep; No more; and by a sleep to say we end ‘The heart-ache and the thousand natural shocks That flesh is heir to, ‘t is a consummation Devoutly to be wish’d. To die, to sleep; 6. Anaphora ‘The purposeful repeating of a word or phrase, at the start of each of a series of sentences, paragraphs, lines of verse or stanzas, is known as anaphora. In the Bible and in verse or prose that is heavily influenced by the Bible, such as by Walt Whitman, anaphora is often employed. Anaphora is a rhetorical method that, in addition to serving to emphasise concepts, gives words rhythm, which makes them more enjoyable to read and simpler to recill Iris often used at the beginning of a sentence or a phrase to put more emphasis on a point. The goal of using anaphora is to give @ passage an aesthetic impression. In order to convince, inspire, motivate and encourage the audience, it is also employed to take an emotional appeal to that audience. Furthermore, the anaphora gives @ reader the impression that it is in the same manner now as it was when he or she first read it. As a consequence, the reader may get involved in the plot right away. It is a literary element that authors consciously utilise because they know it may have a variety of consequences. The first few lines of Charles Dickens’ A Tale of Two Cities (1859) are among the most well- known examples of anaphora. “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness...” Dickens emphasises to the reacler that the period, he is portraying is one that was marked by oppositions and extremes by using the words ‘it was’ often. This method is used consciously in order to provide emphasis, rhythm and emotion. Frequently, it happens at the beginning of successive sentences. Examples may be found throughout the written word’s history, from the Psalms of the Bible through Elizabethan,108 Selections from Literatures in English Romantic, Modern and current writing. Anaphora was employed by poets as diverse as William Shakespeare, William Blake and Allen Ginsberg. | : By using the same set of sounds again and again, anaphora can not oe oa a lively thythm but also amplify the sentiment of the poetry. The repetition o} ' ‘the ays that are no more’ at the conclusion of each stanza in Lord Alfred Tennyson’s pra. Idle Tears’ (1847) — a form of anaphora known as epistrophe, where the echo occurs es t ar of the phrase rather than the beginning — deepens the reader's sense of loss. * oa (1956) by Allen Ginsberg, Walt Whitman’s “Out of the Cradle Endlessly Rocking” (1859) and Mark Strand’s “From a Litany” (1970) are all outstanding instances of how contemporary authors have come up with creative uses for anaphora. Uses of an Anaphora Anaphora can be used in the following ways: * To Produce a Rhythm A text may become more melodic and lilting with careful repetition, which makes it more enjoyable to read or to listen to. According to poet Amanda Gorman, anaphora may generate a moment in your poetry whose intensity and movement are predicated on a single word, similar to how alliteration might. This may even be referred to as a refrain in poetry. * To Convey an Idea Anaphora highlights the repeated words as well as the words immediately adjacent to them. As a result, anaphora is a common technique used in public speaking, when the audience may have a shorter attention span and no Opportunity to go back and read any words they may have missed, * To Connect, Evaluate or Contrast Concepts The concepts that come after the consecutive tepeated words can occasionally be very different. Anaphora encourages the listener in these instances to fully grasp the contrast. Political speeches frequently employ anaphoras to motivate it c ce. An example of a political speech that eae employs anaphora is thi s World War Il address by the then British Prime Minister, Winston Chara anes “We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we shall fight with Srowing confidence it in the air, we shall defend our island, whatever the cost a erewing strength in may be, we shall fight 5, We shall fight on the landing grounds, we shall fight in the fields and the: eee shall fight in the hills. We shall never surrender.” ” This speech was delivered during a trying time in the conflict. The Brit i a teas . a Bi wing, more worried that Britain might be next as Nazi Germany prepared eee ‘The Purpose of Churchill's repeat, in this instani ice, is to inspire the British le, encouraging them to maintain their resolve and unity in the face of their foe. PS°PI& encour?s!Section B: Literary Terms 108 7. Asyndeton ‘Asyndeton is a literary devi nn A a p of connects 4d conten at eliminates one or more conjunctions on purpose from or clauses in quick succession without ey strategy that links a group of words rythm of a paragraph an e of conjunctions. Its usage can hasten the oa po ley s P| 3 id enhance the memorability of a particular notion. Asyndeton a cate conjutenone ty and polysyndeton, which describe the use of one or several soe ctions respectively. By linking sentence components with coordinating conjunctions, each piece is given equal weight. An i GRalnuniecee cent eaiital eq ight. An example of an asyndeton can be seen in Latin phrase veni vidi vici, which means “I came, I saw, I conquered,” in English The primary objective of using an asyndeton is to create a rushed rhythm in the phrase. Prose may be written more quickly by utilising asyndeton, particularly when it is employed in between clauses and sentences. The use of an asyndeton in a phrase or a clause often implies that the sentence might be lacking and the writer might have added more. Since there are no apparent links between phrases and sentences, readers must infer them in order to decipher the writer's intention. By removing the punctuation before the last item, an asyndeton is frequently employed to give the impression that a list never ends. Asyndeton may also provide sarcastic juxtapositions that draw readers into collaborative partnerships with authors. An asyndeton is an illustration of how slightly changing a regularly written sentence may have a significant impact. By eliminating conjunctions, such as and, but, or and as, an asyndeton can provide the impression of accelerated or delayed rhythm, emotional discomfort or exhilaration or emphasis on certain concepts. Like with any tool that deviates from standard speech patterns, an asyndeton may be used to keep or break a thythm in speech to help people remember their words. By employing brief, concise phrases, a writer may use a sentence-level asyndeton to give the impression that they are composed. Categories of Asyndeton Examples of asyndeton can be divided into two categories: * Used within a sentence, in between words and phrases “Are all thy conquests, glories, triumphs, spoils, Shrunk to this little measure?” (Julius Caesar, Act 3, Scene 1, by William Shakespeare) * Used in between clauses or phrases “Without looking, without making a sound, without talking” (Cedipus at Colonus by Sophocles) Asyndeton, Syndeton and Polysyndeton Several conjunctions can be added in syndeton, as in the sentence: “He eats and sleeps, and drinks.” Asyndeton, on the other hand, is the removal or leaving out of conjunctions, as in the sentence: “He eats, sleeps, and drinks.” Each has a very different result. Asyndeton speeds up the pace of speech, whereas syndeton slows it down and makes it moderate.™~ 110 Selections from Literatures in English Asynd i ix polyeyndeten a rhetorical tactic, where the lack of conjunction is signalled by a ¢ conjunction, Few gn the other hand, is the reverse of it. It rather unites the clauses yr and I saw and len ‘ance, the asyndeton, “I came, I saw, I conquered” becomes “| tha a conspicuous use mquered as a polysyndeton. In other words, the second one Be distinguished by age of conjunctions and the lack of commas, whereas the first op, fl conjunctions, wheres: presence of several commas. Asyndeton calls for the deletion 7 Such repetition con as polysyndeton calls for their quick and repeated usage in succession or quick 5 4 veys a sensation of being overwhelmed by the volume of informati e peech and simultaneous cognitive processes. "