ADDRESS in the form of an abrupt and abrasive refusal to do something or to accept a truth claim that has been made.This is very common in Greek and Latin conversational rhetoric.Impolite demonstrative and insulting ABNUENTIA is hard to find in pre-Buddhist texts. Mild ABNUENTIA is common.
ADDRESS designed to insult one's addressee.Insulting form of address, direct insult to the face. Contrast EXECRATIO, which is not face-to-face.Greek: bdelygmia (rarely used)
Abrupt and unpolished spontaneous RHETORICAL STYLE.
RHETORICAL STYLE which prefers extensive and expansive, sometimes redundant, use of language.
ANOMALIA in the form of improper or extended use of a word in a meaning deviating from its basic meaning. Also called catachresis in Latin. Greek: katachrēsis. This category is of great philosophical importance, because it is the source of conceptual extention of meaning in the lexicon.
Introductory remark in PREFACE This mode in which the author presents himself to his audience, typically in an introduction, is late to become common in China and very obviously needs careful study in connection with Chinese notions of authorship and the choreography of the "posing" in authorship, as manifested in traditional texts.
插入總結感嘆法 METALINGUISTIC COMMENT in the form of a summary emphatic evocation of the overall significance or import of one's narrative or argument. Greek: Epiphonema. The almost parenthetic literary pose in which an author steps back from writing his work to take an overall perspective on what he is doing in his work as a whole is of immense importance in intellectual history. In Plato one has to go to his letters for this perspective, but in Aristotle one begins to have incidental almost parenthetic asides on what his whole work in on about.
REPETITIO of the same basic semantic content in a series of semantically distinct but near-synonymous expressions. Synonym compounds in Chinese are a simple form of this, but the rhetorical accumulation of basically undistinguished synonyms which in the West has notoriously peaked in Rabelais, has never caught on in Chinese prose as far as I know. An egregious case of this in Zhuangzi 2 has not found many early imitators, it seems, but the mode has come to flourish in 賦 rhyme prose.
重堆法﹣選擇 ACCUMULATIO in the form of the unmarked juxtaposition of several expressions in a disjunctive mode.
ADDRESS designed to declare one's addressee guilty of a crime.Accusation to the face, typically specifying illegal or immoral acts that are claimed to have been committed by the accused. Greek: kateegoria.
互相指責法 Mutual ACCUSATIO; later: mutual insult. Also known as ACCUSATIO CONCERTATIVA.Greek: antikateegoria.
WORD PLAY in which the first letters of each line combine to make a word suggested by the series of lines. Text in which the first letters of each line combine to make up an intended expression, also called acrostic.
URBANITAS in the form of a pregnant, short and witty often humourous remark.
ANOMIA or VITIUM in the form of a manifestly and deliberately wrong use of a word.Use of a manifestly wrong word as a deliberate rhetorical device. Contrast MALAPROPISM which focusses on the maladroit demonstration of lack of proper learning and education precisely through the effort to show off such education or learning.
RHETORICAL FIGURE which consists in the addition of something to an existing expression.
SPEECH ACT of explicitly addressing an audience.
ADDRESS to an audience in the form of an exhortation or encouragement towards a certain action or a certain kind of recommended behaviour.
AMBIGUITAS in which there is one obvious meaning and another hidden intended meaning.An expression that has an obvious superficial meaning and another unsuspected and underlying secret meaning.Greek: adianoeeton
EXCLAMATIO expressing surprise or amazement. 歎稱法 Emphatic reference to something with an attendant expression of the speaker's amazement at it, and the expected astonishment of the audience. Easy to confuse with EXCLAMATIO which focusses on plain exclamatory expression of the speaker's emotionLate Greek: thaumasmos.
NARRATIO of a subsidiary kind which serves to explain or elaborate a detail in another main story.
諂媚對話法 ADDRESS designed to function as flattery.
ADULATIO with a strong element of self-deprecation. 典型諂媚﹣自謙法 Self-deprecatory flattery.
重疊典型諂媚﹣自謙法 ADULATIO in the form of self-deprecatory flattery, multiple.
典型諂媚稱謂法 ADULATIO in the form of a standardised or ritualised flattery through flattering terminology of adress.
典型諂媚描寫法 ADULATIO in the form of standardised or ritualised flattery through flattering description.
METAPLASMUS in which an adverb is moved from its logical position in the phrase higher up in the syntactic tree, as for example in 常當 "one should always".
HISTRIONICS which consists in the speaker taking on the role of arguing for the ultimate truth rather than its opposite which is argued for by the advocatus diaboli.
HISTRIONIC device in which the speaker takes on the role of the "advocate of the devil", arguing as best he can for the case that is being dismissed. 魔鬼詭辯法 Advocacy of a proposition which is the opposite of what is generally accepted by everyone, including the speaker.
IMITATIO of an admired work or author, with the aim of equalling or surpassing the object thus emulated.
HISTRIONIC rhetorical device in which the speaker/writer expresses himself in a deliberately enigmatic way, making it hard to understand his meaning. Deliberately obscure or esoteric allegory or metaphor. See NOEMA. This must be carefully distinguished from simple use of recondite language, and the distinction is often hard to make post festum because what may seem recondite to us might often well have been colloquial and current to the ancients, though not well attested in the formal literature.Greek: ainigma.Ancient Chinese: Very common.
REPETITIO of the same word but in a significantly different meaning in an argument creating the appearance of coherence of thought where there is none.
後補自釋法 METALINGUISTIC COMMENT in the form of the giving of reasons for a sentence already uttered, usually involves the giving of reasons immediately after a statement.
SOLOECISMUS in the form of maladroit pretentious learnedness.
RATIOCINATIO in which one wrongly attributes to one's opponent a statement which one then goes on to refute.
SPEECH ACT of not only mentioning but affirming a sentence, i.e. making a statement which involves a truth-claim.
ADHORTATIO which openly encourages coordinated common action, often drastic action.
ANOMIA in the form of use of unacceptable vulgar language. (The vice of) foul speech and swearing. This is sometimes also referred to as cacemphaton. The Vergil commentator Servius currently expostulates: Ecce cacemphaton! when he spots what in Latin corresponds to a four-letter word.This must be distinguished from AMBIGUITAS-OBSCOENA which involved unresolved ambiguity which demonstratively leaves room for an obscene interpretation.
RHETORICAL TROPE by which one is openly guided by chance in what one says or writes.
Extended narrative METAPHORA. Sustained metaphorical discourse, typically in a narrative context.
同聲母法 REPETITIO of the same initial sound in two successive words. Successive words beginning with the same sound or sounds: x... x...
同聲母同韻尾法 Successive words beginning with the same sound or sounds and ending with the same sound or sounds, but with different main vowels.
Intertextual METALINGUISTIC COMMENT in the form of referrring indirectly to another text. Allusion, veiled reference to a text presupposed to be known to the intended readership.This must be distinguished from QUOTATION-UNMARKED which involves not veiled reference but direct unacknowledged citation..
WORD-PLAY which mainly consists in the deliberate artistic and playful display of expressions with several meanings within the given context, often but not always with sustained ambiguity. 雙關法 Sustained ambiguity as a deliberate rhetorical ploy. Greek: amphibolia.
黃色雙關法 AMBIGUITAS in the form of deliberate unresolved ambiguity which demonstratively leaves room for a reading which is obscene.Commonly known as "amphibolia obscoena".
ANOMIA in the form of a syntactically incoherent sentence. Change of construction in mid-sentence, syntactic incoherence.
REPETITIO of the last word of a colon/line at the beginning of the nex colon/line. /...x/x.../. Repetition of the last character in colon one at the beginning of colon two.
ANADIPLOSIS between not identical but analogous elements.Contrast ANADIPLOSIS-ANTITHETIC where the analogy is between opposites in a broad sense.
ANADIPLOSIS between elements that are broadly speaking the opposite of each other.
ANADIPLOSIS between identical elements, but with intervening elements. When the intervening elements are standard particles, the cases tend to be registered as plain ANADIPLOSIS.
ANADIPLOSIS with CHIASMUS
ANADIPLOSIS in a series of consecutive sentences.
ANADIPLOSIS of content only, and not of form, as for example when sentence 1 ends with a pronoun which refers to the noun X, and sentence two begins with X.
末、端同句法／頂真 ANADIPLOSIS involving the repetition of a sentence (but NOT necessarily the WHOLE preceding sentence, and often with an implicit subject).
末、端同字法／頂真 ANADIPLOSIS in the form of /...x/...y//x.../y.../ or in the form of /...xy/...x/...y/
/...x/x.../. Merely superficial ANADIPLOSIS in which the repeated word has different functions and meanings.
NARRATOLOGICAL DEVICE the form of a narration of an event which took place before the point in the story where it is told.
/x.../x.../. REPETITIO of the same initial word in two consecutive cola/lines.The variable size of the units identified creates different types of ANAPHORA.
ANAPHORA between adjacent separate entries in a book.This is just a curiosity.
ANAPHORA involving not the same word but analogous expressions.
ANAPHORA involving not (or not only) the same word but antithetic expressions.
Staggered approximate ANAPHORA
Continued use of the same radical in two consecutive characters.
ANAPHORA which links two consecutive passages. (This is quite distinct from ANAPHORA within a given passage.)
讀內同端法 ANAPHORA within one single colon
多次同端法 /x.../x.../ANAPHORA involving more than two identical repetitions in a consecutive series.Note that there are also multiple analogous and even sentential anaphora cases.
第二字同端髮 ANAPHORA-APPROXIMATE in which the repeated element is postinitial in the second sentence.
ANAPHORA in the form of resumption of a whole sentence at the beginning of two sequences.
x.../y...//x.../y.../ or /xy.../x.../y.../
Merely graphic ANAPHORA which does involves repetition of the same word in clearly distinct functions or not clearly corresponding usages.
This experimental category captures the cases where the sequence of initial words seems motivated by "tonal" patterns.
FICTIO converting what is not an animal into an animal.
RHETORICAL STYLE of breaking norms, conventions or regular patterns of a language.
ANOMIA in the form of the use of an expression in a syntactic/semantic function strikingly different from the current one.
ANTHIMERIA with respect to a complex expression rather than a single word. 詞組活用法 The abnormal use of a whole phrase in a function this phrase does not normally have.
ANTHIMERIA with regard to a single word.Use of a word or phrase in an ad-hoc derived grammatical funtion which it does not usually have. NB: I am still looking for a useful replacement for the dysfunctional traditional name for this rhetorical device.
RATIOCINIATIO which anticipates and refutes possible countrerarguments.
The forshadowing of a coming event, theme, or scene by a minor replica of itself.
IRONIA in the form of elaborate argumentation in favour of the opposite of one's views,
ANTILOGIA in the medium of poetry.
REPETITIO in which the same concepts are reused in different word order.
PARALLELISM involving conceptual opposites or antithetic elements. Parallelism between opposites.
／ ...x... ／ ... 不 or 無 x... ／
PERIPHRASIS in which an indirectly periphrastic expression is substituted for a proper name. Periphrastic avoidance of a proper name.
METAPLASMUS or ELLISPSIS in the form of omission of a syllable from the beginning of a word, as 'twixt for betwixt.
ELLIPSIS of the first part of a word.
GNOME detached from any narrative or argumentative context, serving as a complete independent statement, constituting a LITERARY GENRE.
ELLIPSIS of the last part of a word. 省尾法 Omission of the last syllable in word.
LITERARYGENRE consisting in the putting up a literary defence for something or for oneself.
QUOTATION of a famous short dictum by a famous person on a given occasion.
DUBITATIO declaring oneself to be left with a problem unsolvable not only by oneself but also by anyone else. Declaration that one is in unresolved doubt about a matter. The uncertainty may be linguistic (about how to express oneself) or intellectual (about what one ought to think).Greek: aporia, diaporeesis
APORIA concluding a discourse unit. Declaration that one is uncertain at the end of a paragraph, argument, or passage.
ANOMIA in the form of ELLIPSIS of the last part of a sentence, paragraph or passage.Deliberate act of falling silent in mid-sentence. Also known as RETICENTIA (as opposed to INTERRUPTIO 打斷法 )
APOSIOPESIS of the last part of a paragraph. Falling silent after a subordinate sentence, thus omitting the main clause, ellipsis of a whole clause.Traditionally known by the Greek tongue-breaker "anantapodoton".The protasis (e.g. first part of a conditional clause) is present, but the apodosis (e.g. the second part of an "if ... then" sentence) is absent.
A summary which both recapitulates the action of the preceding scene and suggests the action is continuing.
WORD-PLAY consisting in the deliberate slight phonetic change in a common idiom to create a new meaning.
HISTRIONIC rhetorical device in which the speaker artificially uses obsolete language. Archaism, deliberate us of out-dated linguistic forms.
SPEECH ACT consisting in giving explicit reasons for conclusions.
ANOMIA in the context of PARALLELISM in which the repeated rhythm is broken. Breaking of regular rhythm, the converse of ISOCOLON.
[THESE ATTRIBUTIONS AS WELL AS THE RHETORICAL DEVICE CATEGORY MUST BE DELETED: EVERYTHING HAS BEEN ATTRIBUTED FOR STACCATO INSTEAD.]
ARHYTHMIA-INTERLINEAR in which the arhythmic main casura is not in the middle of the line.
ARHYTHMIA sustained across several cola/lines.
ARHYTHMIA involving a line containing foreign language transctiptions.
SPEECH ACT of making a statement and elaborating one's point of view by dismissing an alternative or contrasting statement. Dismissal of one proposition in order to prepare the way for another.
ARSIS-AND-THESIS in which only the dismissed statement is made explicitly, and the asserted statement is left to be understood.
Inverted ARSIS-AND-THESIS in which the dismissal comes last. ARSIS-AND-THESIS where the dismissed view is stated last, not first.
RHETORICAL DEVICE which consists in the deliberate avoidance of all conspicuous rhetorical devices.Rhetorically unadorned (or not particularly adorned!), free colloquial and prosaic style, not necessarily totally devoid of minor rhetorical features. Traditionally called both ASCHEMATISTON and ORATIO SOLUTA.NOTE:When one puts passage down as ASCHEMATISTON one means to say that so far one has not discovered one of the current ornamental rhetorical devices so far, beyond superficial ISOCOLA. In many cases such devices will be found.One only diagnoses ASCHMEMATISTON where rhetorical devices are expected.
RHETORICAL STYLE characterised by extensive flowery rhwetorical ornamentation and parallelism.Flowery style full of rhetorical devices.
RHETORICAL STYLE consisting in a powerful display of self-assurance and natural authority.
REPETITIO of the same main vowel in two consecutive words or syllables. Successive words containing the same vowel or similar vowels without creating alliteration or rhyme.
ELLIPSIS of a connective like "and" or "or" between words, expressions or clauses even linked sentences. Unmarked juxtaposition of coordinate elements.
ASYNDETON in a complex modifier of a verbal expression.
ASYNDETON with more than two members.
ANOMIA in the form of asyntactic juxtaposititon of words to suggest meaning.Asyntactic construction telegram style.
NARRATOLOGICAL DEVICE , the analysis of the 'why' of the story in terms of the aims and intentions of a character.
SPEECH ACT by an author to refer to his own person.
Authorial self-reference without autobiographic force and without clear exclusion of a collective plural.
NARRATIO of the speaker commenting on his own life. The autobiographic mode, diachronic or untensed, as the case may be.
AUTOBIOGRAPHIA in which the author of a text addresses his audience with autobiographic discourse.
ADDRESS turning towards a person not present or dead. Turning towards a person not present, addressing that person, the address sometimes being even to a dead person or personified things. This is a subcategory of PERSONIFICATIO and VOCATIVUS.
RHETORICAL STYLE in which two-morpheme words are used or preferred to one-syllable words. Customary or emphatic juxtaposition of coordinate elements (with syntactically and semantically reversible word order) without markers of their relation. Traditionally classified as ASYNDETON.
BINOME in which the final sound ("letter in the reconstruction") of both syllables is the same.
Caccophonous BINOME consisting of two syllables both with entering tones.
Additive coordinate binome.
並列詞﹣加上﹣逆耳 Cacophonic additive BINOME.
並列詞﹣加上﹣順耳 Euphonic coordinate additive BINOME.
雙聲連綿詞 BINOME where there is alliteration between the words.
Antithetic binome
The general principle of euphony is that IN REVERSIBLE BINOMES all MC tones precede Middle Chinese entering tone, and that all Middle Chinese level tones precede MC falling tone. Whatever corresponds to Middle Chinese tones in Old Chinese reconstructions clearly tended to affect preferred word order in reversible binomes in Old Chinese, as demonstrated in detail by Ulrich Unger in his 8 volume grammar of classical Chinese. The attempted subclassification of binomes tries to systematise the evidence for this.
反義並列法﹣好聽 . The general principle of euphony is that IN REVERSIBLE BINOMES all MC tones precede Middle Chinese entering tone, and that all Middle Chinese level tones precede MC falling tone. Whatever corresponds to Middle Chinese tones in Old Chinese reconstructions clearly tended to affect preferred word order in reversible binomes in Old Chinese, as demonstrated in detail by Ulrich Unger in his 8 volume grammar of classical Chinese. The attempted subclassification of binomes tries to systematise the evidence for this.
選擇並列詞法 Disjunctive BINOME
選擇並列詞法﹣難聽 Cacophonic disjunctive BINOME.
選擇並列詞法 順耳 Euphonic disjunctive BINOME.
押韻連綿詞 BINOME where the words rhyme. Traditionally HOMOIOTELEUTON.
BINOME present in discontinuous form, such that the order of the members of the binome is retained.
Binome with tonal cacophony.
聲調順耳連綿詞 BINOME in which word order is determined by "tonal" euphony.The general principle of euphony is that IN REVERSIBLE BINOMES all MC tones precede Middle Chinese entering tone, and that all Middle Chinese level tones precede MC falling tone. Whatever corresponds to Middle Chinese tones in Old Chinese reconstructions clearly tended to affect preferred word order in reversible binomes in Old Chinese, as demonstrated in detail by Ulrich Unger in his 8 volume grammar of classical Chinese. The attempted subclassification of binomes tries to systematise the evidence for AND AGAINST this.
LITERARY GENRE or EKPHRASIS describing the life of a person.
RHETORICAL STYLE which prefers economic use of language. 短言法 Deliberate pregnant brevity of diction. Ant: BREVITAS.Greek: brachulogia.
RHETORICAL STYLE of pretentious learnedness and floweriness of diction.
ADULATIO of a general audience in forensic context, designed to cause the audience to listen with good-will.Open attempt to gain the good-will of the audience by rhetorical means, typically in flattering opening remarks.
METONYMY where a word is used in a meaning which it does not have in order to express a meaning for which there is no appropriate word.
Repetition, often at the beginning of a speech, of a word or expression from the interlocutor's speech, sometimes with a different tone or meaning.
ADDRESS of an audience which picks a verbal fight.
Introduction of two characters who are presented as similar in personalithy and actions.
REPETITIO of words or phrases which are typical of or characteristic for a character.
EKPHRASIS presenting in some detail the characteristic features of a personality including hi physical appearance, biography, and personality traits.
EKPHRASIS in the form of a detailed description and characterisation of a person.
REPETITIO of of a pattern AB in reverse order ABBA. 甲乙乙甲法 ABBA, a minimal rondo form.
甲乙乙甲法 - 差不多 Aproximate chiasm ABBA
冷笑法 Sarcastic reply that mocks an opponent and leaves him no answer.
REPETITIO of the same conventional rhythmic pattern at the end of a sentence (or sometimes clause) 句末節奏法 Rhythmically regular end of a period.
Overused FORMULA which has lost the expressive force it pretends to have.
CRESCENDO of the form /...x/ x...y/ y...z/ where x,y and z are on a rising scale of stylistic weight. 連續末、端同字增益法 /...x/ x...y/ y...z/ where x,y and z are on a rising scale of stylistic weight. Compare SORITES.
RHETORICAL STYLE which is characterised by a mixture of clearly distinct identifiable styles.
RHETORICAL STYLE which aims to get close to a mimetic representation of common speaking practice. 俗言法 Demonstrative use of elements of the spoken language which are not normally current in writing.
DRAMA predominantly designed to make the audience laugh.
引用加評注法 Quoting a passage or having a passage quoted to one and then commenting on it. Greek: epikrisis
RHETORICAL TROPE of stressing or insisting on a crucial concept or thought, dwelling on or emphasising a point of importance. 逗留法 Dwelling with a central thought, and reverting to it.
QUESTION soliciting advice from one's audience. 請教法 Appeal to the audience with a question what they think.
RHETORICAL TROPE in which things are explained by means of comparing them to other things.
有表記比喻法 COMPARATIO made explicit by verbs of comparison.
對比法 Implicit comparison: "he is a pig" for "he is like a pig".
錯綜法 The splitting up of an idiomatic combination of two binonomes AB CD to make the shape AC BD.
承認法 ADDRESS in the form of a concession that there are valid arguments that speak against one's arguments.
EKPHRASIS which consists in the detailed description of one's past and present faults.
DEMONSTRATIO to the effect that a statement upheld by sonmeone else is false.
堆砌同義詞法 ACCUMULATIO: Indiscriminate piling up of synonymous expressions merely for emphasis.
LITERARY GENRE in which one aims to provide philosophical or aesthetic consolation to someone who feels afflicted.
HISTRIONIC rhetorical device in which the author claims the opposite of what he has just said. 自我矛盾法 Demonstrative advocacy of apparently contradictory views.
METALINGUISTIC REMARK designed to correct what one has just said or written before.
正名法 Correcting the opponent's use of words.
後正己法 CORRECTIO of one's own preceding formulation.
先正己法 CORRECTIO in the form of an announcement that one's formulation needs correction or modification.
RHETORICAL STYLE in which the constituents of a clause, sentence, or paragraph have progressively increasing weight so that the last member in particular is the intended as the most important.
節奏趨上法 The arranging of elements in an order of increasing length.
節奏加語義趨上法 The arranging of elements in an order of increasing length and importance.Traditionally: auxesis, governed by the famous "Gesetz der wachsenden Glieder".
語義趨上法 CRESCENDO: The arranging of elements in an order of increasing semantic weight. Traditionally: auxesis, governed by the famous "Gesetz der wachsenden Glieder".
RHETORICAL STYLE in which the constituents of a sentence or paragraph have decreasing weight. 趨下法 The arranging of elements in an order of decreasing weight or length. Also known as ANTICLIMAX.
PREFACE in the form of a formal ADDRESS to a person who is hailed as the formal addressee of a book.
METALINGUISTIC REMARK explaining the meaning of an expression.
ASLPHALIA showing excessive rhetorical force and communicative energy in an attempt to impose oneself on the audience.
RATIOCINATIO in the form of what poses as a formal logical or strict empirical proof.
ADHORTATIO encouraging empathy for someone criticised, accused, or attacked.
=DIHAIRESIS. SPEECH ACT consisting in the logical division of a genus into its species, of a general category into its subcategories. 分類討論法 Logical division of a genus into its species, known to the rhetoricians as the figure daeresis, is closely related to definition. Currently referred to also by its properly Greek spelling: dihairesis.
Mutual ADDRESSING.
REPETITIO of exactly the same word with different but related meanings. Chinese examples under POLYPTOTON, because DIAPHORA is not a widely known or used term.
LITERARY GENRE consisting of a more or less detailed description of a person's daily activities and daily informal observations.
CHARACTERISMUS consisting in the detailed denigration of someone's character as despicable and laughable.
LITERARY GENRE consisting of a popularising presentation of philosophy.
ZEUGMA of identical subjects in successive clauses. One subject serving as the subject for many verbs.
DEFINITIO delimiting the nuances of an expression as compared to other expressions. 辨詞義法 The explicit focussing on differences in semantic nuances between semantically related words (sometimes called parasynonyms in the modern literature).
SPEECH ACT of digressing from one's main topic or narrative line of discourse. 節外生枝法 Explicit or implicit digression.
RATIOCINATIO basing itself on the systematic division of a subject into its essential constitutive parts or typical kinds.
SPEECH ACT of downgrading, minimalising the importance of, or downvaluing something by the way one refers to it. 貶法 Abasement, diminution of something by means of degrading terms, calling someone bad names.
DIMINUTIO that is marked morphologically. 指小法 Use of a diminutive/devaluing form of a noun.
METALINGUISTIC COMMENT or editorial remark in which the speaker declares that a subject has received enough of his discursive attention. 說夠法 Refers more specifically to the announcement by an author that his current subject has received enough attention.
陳述選擇式 Rhetorical trope which consissts in prsenting a statement in the form of open alternatives.
陳述選擇式＋聯系詞省略法
不同意法 Explicit disagreement with a competing, typically general or proverbial, opinion.
METALINGUISTIC COMMENT in the form of explicit reference to various meanings of a word, thereby removing ambiguities.
換音押韻法 The exchange of one sound for another for the sake of rhyme., as wrang for wrong. Known in Renaissance textsbooks as ANTISTHECON.
REPETITIO or VARIATION in a new speech of a word or expression with which the preceding speech ended. (For example in a pattern like ABC C'DE E'FGH etc.)
LITERARY GENRE in the form of works written for performance on stage in a theatre.
戲劇化 The introduction of "stage instructions" describing dramatic features of linguistic interaction.
"There X would have happened, if not in fact Y had occurred.
HISTRIONIC EXCLAMATIO declaring oneself to be in doubt about how to express oneself or what to say. 假躊躇法 Display of feigned uncertainty as to what to say or how to express oneself. Contrast APORIA which is a display of uncertainty what (ultimately) to think.
編輯說明 METALINGUISTIC COMMENT: Metatextual remark explaining the composition of the text one is currently composing.
DIGRESSIO in which one enters into a disproportionately detailed description of a subject matter. 詳細描寫法 Elaborate digressive description inserted into a passage.
詳寫風景人世法 Detailed (ekphrastic!) description of a place and its inhabitants.
詳寫時期法 Detailed (ekphrastic!) description of a time of day, or a time of the year.
專門仔細寫人物法 'Complete' personal description of the appearance of a person, top to toe. A kind of DESCRIPTIO. See CHARACTERISMUS.
詳寫身性法 The detailed and elaborated description of a person. Traditionally known as CHARACTERISMUS.
RATIOCINATIO in which a point of view, is problematised and taken up for rational discussion.
省略法 RHETORICAL FIGURE of omitting an expression which is to be understood from context.Leaving out of words or phrases which have to be understood in order to understand what is said. Compare ZEUGMA, which is ELLIPSIS of a word that "re"curs in context.
選擇法 Unmarked juxtaposition of two expressions which must be interpreted as alternatives linked by "or".
ELLIPSIS of the first person subject. 自我省略法 ELLIPSIS of the first person subject.
ELLIPSIS of a new subject. 換主語而省略主語法 ELLIPSIS of a subject in spite of the fact that there has been a change of subject.
Embedding a new story Y in an ongoing story X.
SPEECH ACT by which one uses a word in a heavily loaded specific often terminologised non-ordinary sense. 專指特義法 The pregnant use of a word in a specifically rich sense.
錯用詞尾法 ACYROLOGIA in the form of deliberate wrong use of inflections on words.Enallage is the deliberate use of one case, person, gender, number, tense or mood for another.
RATIOCINATIO in the form of appeal to commonly shared opinion.
RHETORICAL STYLE which demonstrates active intense personal concern and involvement of the speaker/writer with content of his/her message and its effective communication.
ARHYTHMIA in the form of lack of strong caesura at the end of a line in a text with regular line numbers. 接下行法 Continuation of one construction across two lines. See also ENJAMBEMENT-MULTIPLE, and the converse, STACCATO.
接下行法﹣節奏不整
接下行法﹣字數不整﹣分行不整
幾個四字格連接法﹣分行不整 ENJAMBEMENT in which the line-break is not at a main caesura (syntactic/prosodic break).
多次接下行法﹣分行不整
多次接下行法﹣字數不整﹣節奏不整
接下行法 Line-break between subject and predicate of a sentence, the predicate extending over several lines.
多次接下行法
多次接下行法﹣節奏不整
接下行法 ENJAMBEMENT with a line break between an adnominal pronoun and the noun it modifies.
接下行法﹣主謂之間 Line-break between subject and predicate of a sentence.
接下行法
接下行法﹣動／賓
ENGAGEMENT that is estpecially intense, mystical, and typically religiously motivated.
ELLIPSIS of a premiss in an argument.
PARALLELISM nominal expressions in the form of an enumerated list. 一一列舉法 Quantified enumeration of (usually brief) numbered points. For unquantified summary see PERCURSIO
兩段間一一列舉法 ENUMERATIO across TLS records
REPETITIO an idea mentioned in an earlier context in order to take it up for discussion again. (Contrast RESUMPTIO)
METALINGUISTIC REMARK in the form of a modifying expression which is intended to explicitly explain the content or meaning of the term modified. Juxtaposition of two coordinate nouns, the second further explaining the first.
LITERARY GENRE in the form of a very long, often popular, narrative piece of poetry.
Having mentioned an event, person or object, moving back in time to explain the background of the event, person, or object.
LITERARY GENRE in the form of a brief, provocative, and witty poem.
LITERARY GENRE that consists in a poem celebrating a victory in sporting events like the Olympic Games.
REPETITIO of the same word at the end of consecutive lines/cola. 同末法 /...x/...x/ Successive cola ending in the same word or expression.
同末法﹣同類 EPIPHORA involving not identical but analogous elements only.
同末法﹣反義 EPIPHORA where the final elements x are not identical but in an antithetic relation to each other.
同末法﹣差不多 EPIPHORA where the final element is followed by another element, typically a particle.
讀中同末法 EPIPHORA within a single colon.
多重同末法 Repeated EPIPHORA (...X, ...X...X ETC).
活用法的同末法 EPIPHORA in respect of the the rhetorical form of ANTHIMERIA.
同末前字法 EPIPHORA with respect to not the last but the last-but-one word.
多次同末前字法 Repeated EPIPHORA with respect to not the last but the last-but-one word.
同末法﹣句子 EPIPHORA where the repeated element in a larger unit is a whole sentence.
多次句子同末法
同末法﹣間接 ...X,...Y/...X...Y
三字同末法 EPIPHORA involving as many as three consecutive characters
兩字同末法 Two-character EPIPHORA, EPIPHORA involving not only one but two characters.
LITERARY GENRE in the form of an inscription on a tomb.
LITERARY GENRE in the form of a poem celebrating a wedding.
REPETITIO of a commonly used semantically weak standard modifier to a main nominal expression. Standard syntactic qualifier used with a word. Compare the Medieval practice of standard epithets for rulers, as in William the Conqueror, but also Ivan Grozny. On this practice I have a splendid unpretentious and readable monograph. (PUT DETAILS)xxx
LITERARY GENRE consisting of a disquisition on a given topic.
PERIPHRASIS which embellishes a concept so as to avoid inappropriate language.
ISOCOLON achieved by adding an expendable or superfluous word with a weak semantic function to a phrase. 節奏整齊法 The deliberate or artificial production of a regular rhythmic pattern, typically through the introduction of redundant binomes and the like.
SPEECH ACT of exclaiming and thus venting an emotion or expressing a reaction vividly. 感嘆法 Exclamatory expression of emotion. Often difficult to distinguish from ADMIRATIO, which involves an attendant expectation that a matter referred to is astonishing. Also to be distinguished from EXCLAMATIO POETICA which is less assertively exclamatory and more appreciative.
詩意感嘆法 Poetic exclamation.To be distinguished from prosaic EXCLAMATIO as being lyrically sensitive and passive rather than assertive.
EXCLAMATIO in the form of an execration of a person or a thing. 不當面罵人法 Contrast the face-to-face form of ABOMINATIO.
FABULA designed not only to entertain but to illustrate a typically religious message and to be used in the context EXHORTATIO. 舉例法 Factual or quasi-factual illustrative episode exemplifying a general point that is being made.
PREFACE typically at the beginning of speech, introducing a text or speech without immediately entering into the subject.
RATIOCINATIO based on personal direct experience.
RHETORICAL STYLE characterised by a spontaneous unprepared typically informal discourse.
LITERARY GENRE in the form of an invented NARRATIO with a philosophical significance.
Familiar ADDRESS of an addressee. 狎稱法 Addressing one's audience in markedly familiar terms, within a text.
對讀者狎稱法 Addressing the readership of a text in markedly familiar terms.
HISTRIONIC NARRATIO or discursive invention.
FICTIO or narrative invention of a person.
FICTIO or invention of a word which does not exist.
臆造人物法 Overt invention of a non-existing person.
創詞法 Deliberate and overt coining of a new term.
REPETITIO of the same root in a verb and its object. 同一詞原的詞構成一個結構 Use of etymologically related but syntactically different words in construction with each other. Contrast POLYPTOTON
NARRATIO in which the narrator suddenly moves radically back in time. 追敘法
Use of a personality in a narrative as the person thorough whose eyes the event and persons of a narrative are 'seen'.
Repeated REPETITIO of a conventional standard formulaic expression in a text. 定形句 Fixed recurring formula, as for example notoriously common in epic poetry and particularly in Homer.
演接交錯法 The fusion of two preceding phrases into one succeding phrase, typically combining two transitive verbs into one compound verb and their two objects into a noun compound.
SPEECH ACT in which one playfully displays a playful erotic interest in a person of the opposite sex.
REPETITIO, adjacent, of a whole sentence or clause. See REDUPLICATIO-SENTENTIALContrast REDUPLICATIO which is the adjacent repetition of a single word.
LITERARY GENRE which
SPEECH ACT making a decontextualised general statement that purports to remain true beyond the context in which it is uttered. 抽象命題法 The decontextualisation of discourse so as to create generalising gnomic abstract propositions or maxims, typically in narrative contexts, but also in isolated enunciations. The relation between GENERALISATION and PROVERB is by no means always clear.
REPETIO of a graphic element.
REPETITIO of the same radical in all the characters of a colon.
HISTRIONIC display of articulatory hesitation. 徘徊法 Explicitly declared hesitation about how to express oneself ( 怎麼說呢 ?).
BIOGRAPHY of persons as holy or sacred personalities.
PLEONASM in two consecutive words. 重言法 The expression of what can be said with one word or expression by the adjacent use of two near-synonymous words or expressions.
一字重言法 HENDIADYS involving only monosyllabic words.
二字重言法 HENDIADYS none of the members of which contain more than two characters and one of which contains two characters.
多次重言法
LITERARY GENRE which consists in describing events in the past.
RHETORICAL TROPE which crucially involves playful dissimulation of one's real meaning.
SERMON in the form of an interpretation of a text.
REPETITIO of the same sounds at the end of consecutive expressions.
ANOMIA in which an adjective is moved so as to modify a noun which it is not really modifying semantically and similar transpositions of words from their logical place in the structure in which they occur.
ANOMIA of word order in which extraneous material intervenes on a large scale between two words that are in construction with each other. 插入法 The interposition between two words that grammatically belong together, of material that does not belong into this construction.
HISTRIONIC overt exaggeration of what one is trying to say. 誇張法 Deliberate exaggeration. Traditionally also DEINOOSIS.
EKPHRASIS of a deliberately ove-lively, vivid and emblematic kind.
先省略法 Ellipsis of a word or expression which is mentioned once and understood/omitted afterwards in the same clause, sentence, or sometimes even wider context.
TRAVELOGUE recounting an imaginary journey that did not really occur.
REPETITIO consisting in overt and deliberate repetition-by-way-of-imitation of a model assumed to be known to the readership/audience.
A talks to B about character C or about thigns which concern C (and which he intends C to hear) without addressing C.
DEMONSTRATIO of a general truth on the basis of particular instances.
METALINGUISTIC COMMENT in the form of a in introduction to one's theme which takes as a point of departure what the speaker presumes preoccupies his intended audience. 順耳間接介紹法 Subtle approach to the opening of a speech which only indirectly leads to the subject.
The technique of interweaving different storylines or scenes through regular switches between them.
ANOMIA in which an interlocutor interrupts the speaker in mid-sentence.
An action of idea is introduced, suspended for a while, and then resumed and completed.
LITERARY GENRE consisting in an opening statement introducing a larger work.
METAPLASMUS in the form of inversion of expected word order.
語義倒文法 Inversion of time sequence, the deliberate mentioning of a later event before an earlier event in a sentence.
Emphatic ADDRESS and appeal to gods or divinities.
HISTRIONIC way of expressing something by playfully creating an appearance of claiming its opposite, typically assuming one's playfulness to be understood by the intended audience. The use of words to express something diametrically different from their meaning, or in a histrionically mediated sense.
IRONIA with the central element of parody. 滑稽擬作法 Ironic discourse in playful imitation of a well-known model.
IRONIA in which the male or female speaker only playfully pretends that he or she literally means what he or she is saying. [This definition being a marginal example of that form.]
IRONY involving sarcasm. 冷笑法 Sarcastic humorous remark.
自我擬作法 Ironic parody directed at oneself.
IRONIA sustained over many sentences or paragraphs 幾句反話法 Irony sustained over several sentences.
REPETITIO of the same number of syllables in successive cola. 節奏對偶法 Rhythmic parallelism. This is so ubiquitous that it would be pedantic to list all cases. A list of striking instances must suffice.
多次字數同一法加對偶法
多次同長對偶法﹣反複﹣趨上 Parallelistic ISOCOLON, repeated.
多次節奏對偶法加對偶法
重複對仗法 Elaborate extended parallelism involved repetition of characters and phrases.
通常對偶法﹣多次
多次同長對偶法
節奏和結構對偶法 Same length and same construction between two successive cola.
重復同長法
同長反複法﹣換詞法 Repeated ISODOLON with VARIATIO.
同長接下行法
同長法﹣駁雜
多次同長法
同長對偶法﹣反義
同長對偶法﹣反義 Parallelistic ISOCOLON involving antithetic pairs.
同長對偶法﹣讀內 Parallelistic ISOCOLON within one single COLON.
同長對偶法﹣重複 - 讀內 Repeated parallelistic ISOCOLON
同長對偶法﹣反複 Parallelistic ISOCOLON involving repetition.
同長對偶法﹣反義﹣趨上
准同長對偶法 Only apparently parallelistic ISOCOLON.
准同節法 An ISOCOLON which appears parallel but is only approximately so, and only gives a superficial appearance of being so.
輕重節奏對偶法 ISOCOLON in which the rhythm of empty and full, heavy and light syllables is the same.
INVOCATIO designed as a guarantee of the reliability of a promise.
LITERARY GENRE in the form of a short tale designed to make the audience laugh.
VITIUM consisting in the use of ugly-sounding sequences of words.
環同同末法 EPIPHORA in the first and last member of a passage.
多次同末環同，重複法
端末環同法，同字異詞
隱環同法 KUKLOS in which the beginning is taken up implicitly at the end of a sentence or period.
環同法﹣句子 A KUKLOS in which what is repeated at the beginning and at the end of a passage is a whole sentence.
結構的環同法 Structural KUKLOS
句內同環法﹣反義 KUKLOS within one clause, where the cyclic elements are in fact not identical but antithetic.
差不多句內環同法
REPETITIO of something at the beginning and the end of a sentence or a passage./x... /.../...x/. 端末環同法 Similar to an INCLUSIO, but not on the level of the sentence but of a larger unit.
環同法﹣反義 KUKLOS between antithetic elements.
差不多端末環同法 Approximate case of a sentenc which begins and ends with the same expression.
同端末法 /x...x/. A clause or colon which begins and ends with the same word.Also called, more analytically, EPANADIPLOSIS.
LITERARY GENRE which consists in saying something for the epress purpose of praising something or someone.
LITERARY GENRE which consists in a private message addressed to another person or to a group of persons.
Culturally "Institutionalised" RHETORICAL DEVICE which consists in writing something consciously as belonging to a recognised literary genre or conventionally practised kind of document. These genres or text sorts constitute an evolving repertoire of available genres.
IRONIA in which one understates the quality of a thing through negation of the opposite in order to stress its greatness or excellence. 間接肯定法 Periphrastic ironic use of a negative statement to express a strong positive statement, often combination of emphasis and irony. 不少
IRIONIA consisting in belittling one thing in order to emphasise the real greatness of another.
LITERARY GENRE of a submission to a ruler.
ZEUGMA in the form of the omission of an expression which is present both before and after in the same context.
RHETORICAL TROPE which consists in remarks not mainly concerned with the world but about language itself or about one's present or forthcoming message and its place in the world.
METALINGUISTIC COMMENT concerning the use of technical terminology rather than common usage.
METAPHORA in the form of an implicit COMPARATIO in which an expression is taken not in its literal sense but in a sense derived from the literal sense so as to indicate an implicit comparison and abstraction from detail.Figurative substitution for the proper verb or noun (e.g. "warrior") of another word which evokes special features of the proper word (e.g. "lion"). Note that in general the phenomenon of lexicalised figurative usage is best studied in TLS by searching for the semantic category FIG. Under METAPHORA I collect those cases where the figurative usage does not appear to have been lexicalised. The distinction between FIG and METAPHORA is exasperatingly often arbitrary.Another difficult contrast is between METONYMY where there is a variously defined but semantically clear relation of the extended use to the primary use of a word, METAPHORA, in which there is only poetic suggestiveness and no clear and explicit, semantic link, and finallly SYNECDOCHE, in which the relation is one of taxonymy or of mereonymy (part-whole relationship).ALLEGORIA is sustained and systematic metaphorical discourse.
慣用比喻法 Conventional METAPHORA
RHETORICAL FIGURE consisting in the reshaping of an expression rather than the addition or omission of elements. 改詞法 Transformation of the form of words, e.g. Mavors for Mars".
RhRHETORICAL TROPE in the form of the use of an expression in a meaning which it literally does not have but which is clearly related to the basic meaning of that expression.Substitution of a semantically clearly related but literally inappropriate word for another literally appropriate word. The contrast is between METONYMY where there is a variously defined but semantically clear relation of the extended use to the primary use of a word, METAPHORA, in which there is only poetic suggestiveness and no clear and explicit, semantic link, and finallly SYNECDOCHE, in which the relation is one of taxonymy or of mereonymy (part-whole relationship).
IMITATIO consisting of imitation of sound, action, or behaviour.
An EMBEDDED STORY which in its entirety reflects the main story.
ADDRESS directed towards oneself only.
VARIATIO of linguistic medium used.The mingling of sundry languages (typically affectedly).
The use of two or more adjectives to modify one and the same nominal expression.
The stringing together of a long series of names.
NARRATIO with a traditional typically supernatural conventionally well-known theme.
Mention of the intended auchience or readership of a narrative.
SPEECH ACT which consists in the reporting of events.
A RHETORICAL DEVICE which consists in the implementation of a narrative strategy.
METAPLASMUS in which a negation is moved from its logical position in the phrase higher up in the syntactic tree, as for example in 勿使 "cause not to" and in the English "I don't believe he will come".
SPEECH ACT of insinuating something indirectly rather than expressing it directly.
VITIUM which consists in the deliberate use of obscure language which makes one's message incomprehensible.
呼吁鬼神法 Emphatic rhetorical appeal to the gods or divinities.
Complex KUKLOS according to the pattern x...y/y...x/ x...y/y...x/
MIMESIS which consists in expressing one's meaning by imitating the sound of what one describes. Imitation of sounds through made-up words.
EXCLAMATIO expressing an intense typically unfulfillable or even contrafactual desire.Invocation of what one is hoping for or wishing for.
LITERARY GENRE of a public speech.
LITERARY GENRE which consists in a public speech in the context of
METALINGUISTIC REMARK in the form of reporting the content of speech (rather than quoting it directly). Indirect speech.
ORATIO designed as an elaborate public show of supreme rhetorical skill.
CONTRADICTIO in which a noun is modified by an adjective that is inconsistent with the semantic content of the noun, that complex expression being used to make a subtle abstract observation. Contradiction in terms, typically a nominal expression, but compare also festina lente "hurry slow".See also PARADOXON which refers to propositions rather than terms.
WORD-PLAY in which a text may be read from beginning to end but also from the end to the beginning. A word, verse, or sentence that reads the same when the letters composing it are taken in the reverse order. (OED)
回文法 A piece of text that also makes sense when read in the reverse order from back to front.
ALLEGORIA that is short and illustrates a moral truth.
ANOMINA in the form of a statement that is manifestly unacceptable to the intended audience. Deliberately and provocatively contradictory statement, often with a non-contradictory meaning.
REPETITIO of the structural organisation of an expression.Structural parallelism, which is typically a complicate matter of degrees depending on how detailed the description is on which one's notion of parallelism is based.. Traditionally sometimes called PARISON.
對偶法﹣趨上法 Traditionally: auxesis, governed by the famous "Gesetz der wachsenden Glieder".
對偶下趨法 PARALLISM with decrescendo
多次對偶法 One might want to assign, pedantically, REPETITIO and PARISON seperately. The longer I have looked at these cases, the more they appear to me to be cases in which structural parallelism and repetition of elements make one rhetorical unit for effect. But these will probably turn out to be inconsequential intuitions that will evaporate with time.
多次對偶法﹣反義
對偶法﹣重複﹣趨上 Repeated PARALLELISM with CRESCENDO
對文法 PARALLELISM with antithetic parallel elements; see LEXICAL RELATIONS: ANTONYMS.NB: ANTITHESIS is involved as an integral part in many other rhetorical devices.
差不多對偶法﹣長 Extended aproximate PARALLELISM
重複對偶法 Mulitiple PARALLELISM.
多次部分對偶法
結構的部分對偶法 PARALLELISM which is incomplete but applies to striking overall features such as the pattern of sentence connectives.
准對丈法 Play on only apparent PARALLELISM.
音變法 Deliberate variation on a given sound pattern in contrasting words.
ANOMIA in the form of the insertion of syntactically disconnected sentence into another sentence so as to interrupt the syntactic flow or coherence of the latter. Asyntactic insertion of material A. into a sentence or B. into a passage.
Syntactic PARALLELISM of construction.
IMITATIO designed to mock what is being imitated.
諷刺滑稽模仿法 Jocular teasing imitation of another work.
BREVITAS in the form of a summarising quick and short ENUMERATIO. Quick survey of what is not to be gone into in detail or listed for quick convenience.
ABUNDANTIA in the form of a long-winded structually complex sentence, typically with many parallel constructions and subordinate clauses.
ANOMIA in which an author uses typically elaborate alternative descrition rather than brief specialised terminology to express a given meaning.
ANTONOMASIA: A reference to a character not by proper name but by a form of indirect description.
ADDRESS in the form of a conclusion of a speech.
FICTIO converting what is not a person into a person.Attribution of personal attributes to non-humans.
抽象擬人﹣主語 The personified use of abstract nouns as (quasi-)agents
RHETORICAL STYLE which consists in plain explicitness of presentation.
REPETITIO of the same meaning in the same clause.
語法方面多餘重複法
LITERARY GENRE of poetic texts typically with a regular metre and/or rhyme.
REPETITIO of the same root in different functions and in some languages with different endings in others. Use of one word in many different functions in one context.
連詞多次白用法 Repeated redundant use of connectives.
RATIOCINATIO in which popular consensus is adduces as evidence for the truth of what one is saying. Appeal to the judgment or experience of many or of general consensus. Traditionally called APODIXIS!
PREFACE placed at the end of what it is the preface of.
詞後加修飾句法 INVERSIO in the form of a postposed modification. 釋名 : 人始生曰嬰兒 "A human who has just been born is called a baby" is a characteristic example. Note that what is said to be a baby is not the birth, or the fact of having just been born.
SPEECH ACT by which a text sets out to give authoritative advice.
SPEECH ACT of announcing briefly what one is to expound later.
SPEECH ACT of preparing the audience what the author suspects that audience will find unacceptable.
HISTRIONIC mentioning of a matter with refusal to specifying relevant details that would be of interest to the intended audience. Explicit omission of a subject, often used as an excuse to do exactly what one is announcing one will not do.
Formal ritual ADDRESS to divinities.
RHETORICAL STYLE of showing off elevated forms of literary and psychological sensibility.
LITERARY GENRE in the form of a short text serving as an introduction to a much longer book or written/spoken text by someone else.
SPEECH ACT of demonstrating the truth or plausibility of a point one has made.
QUAESTIO which raises a question as being unanswerable for the time being. The explicit raising of an (typically abstract) topic as a matter of general theoretical or intellectual interest.
LITERARY GENRE of a speech by a speaker who considers himself as a profet with supernatural knowledge about the future and direct access to deities.
LITERARY GENRE of preliminary exercises designed to enable one to go on to more important pursuits.
FORESHADOWING: the narration of an event whih will take place later than the point in the story where it is told.
SPEECH ACT of making eplicit the moral of a preceding tale.
LITERARY GENRE in the form of an ADHORTATIO that is publicly organised and systematically encourages the social public implementation of an ideology.
RHETORICAL STYLE which avoids verse or poetry.
PROSE with an admixture of verse.
PERSONIFICATION in the form FICTIO of speech in things that cannot speak. Fictional attribution of speech to animals or things that cannot speak.
GNOME that is commonly accepted as a conventional truth.
後省略法 Ellipsis of a word which reoccurs later within the same clause, sentence, or sometimes even wider context. This is so common that one need not go on registering it.
POETRY directed at and addressing deities.
ADDRESS in the form of an open question.The posing of open questions without providing or expecting an answer. Compare APORIA, DUBITATIO, HAESITATIO.
預先自問法 Anticipation and answering of possible objections. Often referred to by its Greek name proleepsis.Compare QUAESTIO-SELF-ANSWERED which involves not objections but requests for clarification.
問看官法 A question which the reader is asked to answer for himself.Compare the QUASTIO-LECTORI-CONSULTATIVA by which the author asks a communicative question of advice to the reader.
請教讀者法 By the figure QUAESTIO-LECTORI-CONSULTATIVA (traditionally: ANACOENOSIS) the speaker asks counsel of his hearers. Greek: anakoinoosis.
QUAESTIO which in fact emphatically affirms its assumed answer. Rhetorical question which is neither concluding nor initial.Traditionally: EROTEMA.
何況法 A fortiori rhetorical question.
反詰結論法 Conclusion of a passage in the form of a rhetorical question.
段後宗結反詰法
假設總結反詰法
假設反詰法 Conditional rhetorical question.
謀事反詰法 Rhetorical question to oneself in the context of deliberations on future action.
反詰﹣選擇 Open unanswerable alternative question. Traditionally known as DILEMMA.
段前反詰法 A rhetorical question at the beginning of a paragraph.
用反詰指責法 Rhetorical questions lined up in order to reprehend.
反詰﹣章內 Rhetorical question as part of direct speech within a narrative text, i.e. not directed at the reader.
QUAESTIO put to oneself and answered by oneself immediately afterwards in one's text. Asking questions and answering them oneself. Also known as SUBIECTIO. ANTHYPOPHORA
Intertextual METALINGUISTIC COMMENT introducing direct discourse.
QUOTATION within a quotation.
引用法 The explicit QUOTATION or mentioning rather than using of a word or an expression.
無名引用法﹣有記號 Marked anonymous quotation.
假裝引用法 Fictitious QUOTATION.
假裝引用法﹣無記號 Unmarked fictitious QUOTATION.
引用自己法 Quoting oneself.
諺語法 Explicit quotation of proverbial expressions.
隱諺語法 Quotation of a proverb without any explicit characterisation of what is quoted as a proverb.
無記號引用法 Quotation of a text or of direct speech that is not marked out explicitly as a quotation. This close to allusion, but it is not the same thing. The difference being that quotation suggests a degree of verbal fidelity with what is quoted, whereas ALLUSIO is only reminiscent or suggestive of the content of a source that is referred to.
引用語中引用語 Within direct speech, the quotation of direct speech.
SPEECH ACT of developing one's points of view through rational reflection and reasoned argument.
METALINGUISTIC COMMENT in which one recapulates what has been said. Recapitulation of main content at the end of a discussion.Almost bligatory in the parables collected in BAIYU.
SPEECH ACT of declaring oneself unable or unwilling for the moment to discuss a question that arises.Self-disqualification with regard to a certain question.
METALINGUISTIC COMMENT in the form of an editorial remark in which one declares one's intention to revert to one's main line of discourse.
反本題目法 La retour aux moutons. Declaring that one is getting back to the main line of thought after a digression.
ABUNDANTIA in the form of the use of too many words which add no meaning. Ant: BREVITAS
四字法 artificial creation of four-character phrases/cola.
REDUNDANTIA caused by the need to fill out a five character line isocolon.
REPETITIO of the same expression immediately after itself, within the same colon/line. Plain repetition (to be distinguished from lexicalised reduplication) /...XX.../ Traditionally GEMINATIO.See the excellent large dictionary of reduplication by Wang Weimao, with 7600 reduplicative words.
重言加綴法
重言法﹣後面
句子重複法 Repetition of a sentence (usually at the end of a passage).
POETRY in the form of verses repeated regularly at the end of stanzas throughout a poem.
AUTOBIOGRAPHIA which consists of the reporting of memories that are emotionally important to the author. Recital of personal reminiscences, most often of woes or injuries.
RHETORICAL FIGURE in which one and the same lexical, phonological, syntactic, or semantic element is repeated for rhetorical effect./...x...x.../: non-adjacent repetition of the same word, contrast morphological reduplication.
重復加換詞法 REPETITIO with VARIATIO
兩段之間重複法 Repetition across TLS records.
REPETITIO where the repeated element is used in antithetic contexts.
REPETITIO not of expressions but of graphic elements within the written form of words. Recurrence of the same character with different readings.
多次重複法 Multiple repetition.
四部重複法 Four-fold non-adjacent repetition.
REPETITIO of a semantic element.
重複法﹣句子 Sentential repetition
三部反複法 Non-adjacent triple repetition of the same word.
METALINGUISTIC COMMENT limiting the applicability of a general statement one has just made. Restriction, a figure whereby after making a gerneral statement one excepts a part or delimits a generalisation.
REPETITIO of an expression from an earlier context in order to resume a discussion. 繼承重複法 Resuming a phrase that has been focussed before.
RESUMPTIO repeated and referring to an earlier list.xy/x.../y.../
A slowing down of the narrative rhythm or the postponement of an announced event.
INVERSIO in the form of the interchange of grammatical roles, typically the subject becoming object and the object subject.
詞格 METHOD of adorning discourse.
形式詞格 RHETORICAL DEVICE which mainly consists in the distribution of expressions in a passage.
體裁詞格 RHETORICAL DEVICE which is mainly concerned with matters of style of presentation rather than distribution of expressions or semantic structure.
體裁詞格 RHETORICAL DEVICE mainly concerned with the structural semantics of expressions.
HOMOIOTELEUTON at the end of cola/lines. Homophony at the end of two or more lines of text.
雙字韻法 RHYME in which the last two syllables rhyme, typically when the last syllable is the same and a particle.
押韻法﹣字形 Graphic RHYME.
句末聲調順序順耳法 RHYME consisting only in the euphonic nature of the tonal sequence.
押韻法﹣順耳聲調法﹣讀內 Rhyme-like tonal euphony within one colon.
ADDRESS in the form of greeting an audience by the use of words.
Indirect MULTILINGUALISM in which one writes so as to show that one is imitating the ways of Sanskrit.
IRONIA in the form of malicious joyless criticism.
LITERARY GENRE of exaggerated criticism of prevalent conditions in a society or group.
RATIOCINATIO offering oneself as the witness or guarantor of the truth of what one is saying. Offering oneself as guarantor or surety for a statement.
HINT: the insertion of a piece of information, the relevance of which will only later become clear. (Very common in Chinese novels.)
IRONIA in discourse about oneself.
排列法 List of coordinated elements.
FICTIO of speech or opinion in a real historical person.Attribution of speech or opinion to a real historical person.
LITERARY GENRE which consists in an ADDRESS of a congregation concerning matters of religion or the spiritual life.
VITIUM in the form of non-deliberate wrong use of inflections on words as a sign of ignorance.
CLIMAX where the members are conditional clauses: if x then y; if y then z; ... ... An ANADIPLOSIS-MULTIPLE or CLIMAX consisting of a series of conditionals in which the apodosis of the preceding conditional regularly is repeated as the protasis of the succeeding conditional.
珠連法﹣趨上 Traditionally: auxesis, governed by the famous "Gesetz der wachsenden Glieder".
連珠法﹣差不多 Approximate SORITES
珠連法﹣間接 Staggered SORITES
RATIOCINATIO in which one explicitly discusses the value of one's sources as evidence for one's conclusions. Explicit discussion of the reliability of sources adduced in support of one's argument.
評價根據法 Explicit discussion of the reliability of sources adduced in support of one's argument, with reasons given for one's preferences among the sources.
RHETORICAL TROPE in the form of a deliberate rhetorico-semantic act performed. [This definition is still a tentative stop-gap, and this category is far larger than I would like. It needs to be intelligently subdivided. CH]
ARHYTHMIA in the form of the presence of a very heavy caesura within a given line/colon.The presence of two clearly separate clauses or sentences in one line, converse of ENJAMBEMENT.See ARHYTHMIA-INTRA-SENTENTAL
一行兩句法﹣不平橫
DEFINITIO which explains how a word is to be used in future towards a given intended audience and in a given context. A statement of definition which is declared to be true by virtue of being made. This is a kind of DEFINITIO.
This is a convenient place to assemble stylistically marked structural syntactic phenomena that are not linked to any particular expression and cannot therefore be registered elsewhere in the TLS system.
RHETORICAL STYLE which consists in expressing one's judgements as being subjective and presuming one's audience to recognise this subjectivity.
作家的主觀角度 Authorial SUBJECTIVITY
Linguistically explicit SUBJECTIVITY
文內主觀法 Analytic or descriptive focus on the subjectivity of a participant within the text, rather than on the subjectivity of the author of the text.
METALINGUISTIC COMMENT in which one appends a reflection to a finished piece of discourse. Afterthought. Afterthought appended to the main thought as a further reflection on it.
REPETITIO of the form "x...y; x...y of one word or phrase at the beginning, and of another at the end, of successive clauses, sentences, or passages, i.e. combination of ANAPHORA and EPIPHORA. /x...y/x...y/
多次端末反複法 X...Y/X...Y/X...Y etc.
ADRESS in the form of a concessed addressed to one's audience. A figure whereby the speaker, trusting strongly in his own cause, freely gives the questioner leave to judge him.
METONYMY with part for whole; whole for part; genus for species; species for genus. The difficult contrast is between METONYMY where there is a variously defined but semantically clear relation of the extended use to the primary use of a word, METAPHORA, in which there is only poetic suggestiveness and no clear and explicit, semantic link, and finallly SYNECDOCHE, in which the relation is one of taxonymy or of mereonymy (part-whole relationship).
SPEECH ACT of saying the logically self-evident.
PARENTHESIS of word order in which extraneous material intervenes within a given word.
Use of two words sounding exactly the same but meaning something entirely different for rhetorical effect.
SPEECH ACT in which one describes or assumes the things in this world as determined by forces from outside this world of things.
METALINGUISTIC COMMENT in the form of an editorial remark leading from one subject one is treating to the other. Explicit passage from one subject or part of one's speech to another. Often called METABASIS. Contrast DISCONTINUATIO which refers more specifically to the announcement by an author that his current subject has received enough attention.
LITERARY GENRE in the form of a description of travel experience.
REPETITIO of a type of discourse to form a tripartite overall structure.
三分法，一加二
Tricolon where neither 1 and 2 nor 2 and 3 form a pair.
TRICOLON with three similar members, but with crescendo.
三分法 TRICOLON organised in such a way that the first two members are parallel, and the last is deviating.
Traditionally: auxesis, governed by the famous "Gesetz der wachsenden Glieder".
准三分法 Heterogeneous TRICOLON in which the last member deviates.
TRICOLON within a single colon
PARALLELISM with three members.
A recurrent block of narrative with an identifiable structure and often an identical language, typically of recurrent human activities.
RHETORICAL STYLE which consists in highly communicative wit or jeu d'esprit. 滑稽修飾法 Facetious, ironic, or otherwise sophisticated and urbane colloquial style typically involving self-irony.
LITERARY GENRE consisting in a farewell speech.
VARIATIO in which the varied words rhyme with each other.
REPETITIO which consists in reverting to the same meaning using different words.Use of a different word for similar meaning, at least partly for euphonic variation.
ANOMIA or deviation from a norm that is primarily regarded as a vice or as a rhetorical flaw rather than positively as an effective artistic device.
ADDRESS by name to an addressee.
The addressing an absent person.
Invocation of the gods.
A VOCATIVUS inserted in the middle of an utterance and neither at the beginning nor at the end.
段後叫呼法 Explicit address to a person after a statement.
Address by name of a person in the vocative mode, typically followed by the use of the second person pronoun.
專名泛指法 The use of a proper name as a generic noun.
SPEECH ACT which does not only use words but plays with their form and content.WORD-PLAY
Use of similar-sounding words for for stylistic effect, WORD-PLAY in MacKendrick 1995.Traditionally sometimes called PARECHESIS. (Incidentally: often misspelt PARANOMASIA by some sinologists.) See also POLYPTOTON.
The explanation or glossing of a word X by the use of another word Y which is phonetically similar to X.
詞同、用法不同反復法 Using the same word several times in different grammatical forms or distinct grammatical functions in the same sentence/context.
WORD-PLAY in which the same expression is used in two distinct meanings.
WORD-PLAY in the form of conjoining nouns that do not semantically belong together in one and the same construction. Omission of a word which is present in the same sentence, this omission usually involving PARALLELISM.NOTE: the term is also used as a general term for HYPOZEUGMA, MESOZEUGMA, PROZEUGMA, for which see the bibliography indicated here. [Add biblio the the ZEUGMA here intended! See Lausberg CH]See also PROZEUGMA, HYPOZEUGMA, MESOZEUGMA.
中省略法 Ellipsis of a word which reoccurs before and afterwards within the same clause, sentence, or sometimes even wider context.
ZEUGMA in the form of the omission of a word that comes later in the same context.
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