literary devices in speech sounds

Speech Sounds | Summary & Analysis

Summary of speech sounds by octavia butler.

‘ Speech Sounds ‘ is a captivating short story written by  Octavia E. Butler , a renowned African-American science fiction author. The tale is set in a post-apocalyptic world where a mysterious illness has devastated human communication, rendering most people unable to speak or comprehend language. In this desolate landscape, the story follows a woman named Rye, who has lost her family to illness and struggles to survive amidst violence and chaos. Octavia E. Butler was a trailblazing figure in the world of science fiction literature. She was known for her thought-provoking explorations of race, gender, power dynamics, and human nature within fiction. 

Speech Sounds | Summary

In this tense and gritty scenario, trouble breaks out on a bus traveling along Washington Boulevard. Rye, a passenger, expects some form of conflict due to the harsh circumstances of her journey. Loneliness and desperation drive her to leave her home in search of relatives. As the bus unexpectedly arrives, Rye’s perceived stroke of luck turns sour as a disagreement between two young men escalates. The two men engage in an aggressive standoff, their heated gestures hinting at a potential fight. Passengers become increasingly anxious as the tension rises. Rye watches the situation intently, anticipating that any small spark could ignite the violence she senses is imminent. Amid the bus’s jolting movement, the taller man is thrown into the shorter man, triggering the long-awaited brawl. The shorter man launches a rapid and fierce attack, pummeling his opponent into submission. Chaos erupts as other passengers react with fear and distress. Another dispute erupts among other young men, compounding the turmoil.

Frightened by the escalating violence, Rye decides to exit the bus, joining a few other passengers who do the same. In a world where buses are scarce and unpredictable, people often tolerate such chaos to secure a ride. As Rye distances herself from the bus, she remains vigilant, understanding that joining the fight might be inevitable but seeking protection in a nearby tree. Amid this turmoil, a battered blue Ford pulls up on the opposite side of the street. The driver, a young man in a Los Angeles Police Department uniform, gestures to Rye, beckoning her. Rye, however, is wary of any remnants of law enforcement, knowing that large organizations no longer exist in this new reality.

The officer removes his coat, revealing his uniform and equipment. Rye’s wariness persists, and she remains cautious. The officer throws something into the bus, releasing tear gas to quell the fighting inside. People rush out, choking and crying. Rye assists those who struggle, while the officer helps at the front of the bus. As the situation calms down, Rye realizes the value of the officer’s controlled demeanor, allowing him to navigate the tense situation without triggering further violence. Amid the chaos, the bearded man’s revolver remains in plain view, deterring the bus driver from approaching further. However, the driver’s desperation over his bus’s state continues, and he’s unable to grasp the consequences of allowing flights to ruin it. Meanwhile, the LAPD officer seeks Rye’s assistance and gestures for her to leave with him in his car. Despite the officer’s uniform, Rye remains cautious of law enforcement remnants.

Rye refuses the offer and signals him to leave, but the officer persists. Eventually, Rye is linked to the officer by an obscene gesture from one of the fighting men, insinuating a connection between them. The situation turns tense as the man advances, but Rye stands her ground, armed and ready. The man eventually gives up, and the officer’s actions show his intention not to engage in violence. Rye decides to take the risk and get into the officer’s car, reminiscing about a neighbor’s unsavory proposal after the illness ravaged the population. As they drive away, the bus driver and others throw rocks at them, but the car escapes unharmed. The officer asks Rye to choose their route, and her choice reassures her that he might be trustworthy.

Passing through a desolate landscape, the officer gives Rye a pendant—a piece of obsidian.

Rye and Obsidian share a moment of intimacy, using symbolic pins to represent their names and communicate their stories. Rye harbors resentment towards Obsidian for his literacy, a skill she has lost due to the illness. As they struggle with their emotions, Obsidian guides Rye to a street map, trying to determine her destination. Unable to communicate through words, they rely on gestures and touch. Obsidian’s willingness to help LAPD officers survive perplexes Rye, but she struggles to articulate her thoughts. Their physical interaction becomes intense, but Rye’s painful history of loss and despair prevents her from embracing a romantic connection. They later become intimate and try to find solace in each other’s company. Rye indicates the number three, alluding to her deceased children, a memory that weighs heavily on her heart.

Seeking escape from her despair, Rye engages with Obsidian again, seeking pleasure and forgetting her pain. In a poignant moment, she invites him to her home, hoping for companionship. Although he seems to hesitate, he ultimately declines her offer. As Rye and Obsidian continue their journey, Rye pins her wheat stalk symbol to Obsidian’s LAPD badge, symbolizing her acceptance of him and his role-playing. As they head back towards home, they encounter a woman being pursued by a man. Obsidian intervenes, and in the ensuing struggle, the woman fatally wounds the man with a shard of glass, while Obsidian fatally shoots the woman. However, as Obsidian attends to the wounded man, he is unexpectedly shot and killed. Rye shoots the man in self-defense, leaving her alone with three corpses.

Two young children, around three years old, emerge from a nearby house and approach the scene. The children try to wake the dead woman, and Rye becomes overwhelmed with grief and anger. Fearing the responsibility of caring for the children in a world devoid of normalcy, she decides to leave them behind. Rye initially considers leaving Obsidian’s body behind and returning to her car. However, the realization that she can’t abandon the two young children prompts her to make a decision. She understands that the children can speak and have been able to learn language, likely born after the silence-inducing disease took its toll. Rye lifts the dead woman into her car, comforting the frightened children and assuring them that they’re joining her on the journey. With compassion, she talks to the children, introducing herself as Valerie Rye, and letting them know it’s safe for them to communicate with her.

Speech Sounds | Analysis

‘ Speech Sounds ’ stands out as a remarkable illustration of Butler’s writing prowess. The protagonist, as she makes her way through life in a culture where efficient communication is all but extinct. She is rendered illiterate by an unidentified sickness and decides not to speak out of concern for the unfavorable and violent responses from other characters. But at the end of the story, Rye has a pivotal event where she consciously “unlearns” her silence in order to reclaim some of her lost autonomy. Science fiction, according to Kerrian Baker, provides especially rich ground for examining how feminism and racial injustice continue to be marginalized in literature. With the help of Speech Sounds, it is possible to study feminism and racism while also tackling a number of real-world prejudices maintained by the literary community.

The most prominent subject is  communication  which acts directly in contrast to the established tropes of the genre, supporting Butler’s denial of science fiction’s status as exclusively a male domain. Speech Sounds, a text with relatively few adventure aspects, focuses on the importance of communication and the effects of language and literacy loss on society. Such a huge departure from the patriarchal norms of the genre encourages readers to acknowledge that, despite science fiction’s continued male dominance, there is still hope for change and that marginalized authors can usher in a more inclusive era of the genre.

The  bond between Butler and Rye  is highlighted as they both go through the process of “unlearning not to speak” in order to break free from the oppressive expectations of their own communities while communication continues to function within the short narrative. However, when given the option to speak up and maybe alter the course of her reality or to remain silent and abandon two children to fend for themselves, Rye courageously chooses to speak up. This conversation also illustrates Butler’s decision to interact with the literary community. Butler reclaims her voice despite science fiction’s status as a male-dominated medium and the associated misogynist animosity.

Despite science fiction’s propensity for whitewashing its characters when their race is left nameless, Rye’s strong feelings about losing her ability to read and write let the reader understand and appreciate her existence as a black woman. She still has the ability to communicate verbally, but she no longer has the ability to read or write, which is difficult for her. Rye says she has no “reason to live” as a result of losing her literacy, which fueled her interest as a freelance writer and led to a career as a history professor at the University of California, Los Angeles. The frequent inability of black people to read or write is a commentary on systematic racial oppression. Rye’s increased melancholy upon discovering her illiteracy strongly suggests her existence as a black woman, undermining the American literary Empire’s claim that science fiction is exclusively the domain of white people.

Sami Schalk  has suggested that it is possible to alter discussions about Butler’s writing among feminist, racial, and genre studies researchers while also promoting an increased focus on Butler among scholars of  disability studies . She makes a case for Butler as a writer of disability literature based on her life experiences, her studies, and her writing by using evidence from Butler’s private files, public interviews, and publications.

Speech Sounds | Themes

The theme of  communication and language  is a central and pervasive element. The story takes place in a world where a mysterious illness has robbed people of their ability to communicate verbally. Rye, the protagonist, feels disconnected from others due to her inability to convey her thoughts and emotions. Rye’s internal monologue reveals her frustration at not being able to convey her grief, anger, and desires. The absence of verbal expression intensifies the characters’ emotional struggles and adds to their sense of alienation.

The story’s characters exist in a  world marked by extreme isolation , brought about by the breakdown of communication, the loss of language, and the violence that ensues. The lack of language itself results in isolation most immediately. The sickness has taken away the characters’ effective communication skills. The novel takes place in a world where societal norms have crumbled. As a result of the breakdown of law and order, people are left to fend for themselves. Characters experience a greater sense of isolation as a result of this collapse in society because they can no longer rely on organizations or groups to provide them with support and security. The story’s characters also encounter emotional seclusion. For example, Rye’s reluctance to express her sadness over the death of her family has left her emotionally damaged. This emotional isolation is compounded by her interactions with others, as violence and distrust make genuine emotional connections difficult to establish.

The theme of  isolation  is intertwined with the theme of  survival . Characters are forced to prioritize their own survival above forming connections with others. Characters become increasingly isolated as a result of this urge for self-preservation since they become cautious of outsiders and more willing to use force to defend themselves. Characters simultaneously long for camaraderie and human interaction despite the obstacles in their way of connecting. In order to deal with her loneliness and give company to the kids and herself, Rye decides to take care of the two kids. The theme seeks to emphasize the underlying human desire for companionship, connection, and communication while simultaneously highlighting the effects of their absence in a violent and hopeless world.

The theme of language and communication is also tied to the themes of  hope.  The presence of children who can communicate suggests that the world may not be entirely devoid of language forever. These youngsters stand for the potential for repairing and reviving interpersonal relationships through effective communication. The narrative makes a suggestion that language, even when it is lost, can be recovered and revived. The story’s characters live in a world that is characterized by violence, chaos, and a breakdown in communication. Despite the difficulties, characters manage to adapt and live, providing little glimpses of hope. These instances serve as a reminder to readers that the human spirit can endure even the most hopeless situations. The unforeseen connections that characters create with one another serve as a sign of hope. 

Rye’s encounter with Obsidian and the two children showcases the  potential for bonds to form  even in a world where language is limited. These connections provide characters with a glimmer of hope that they are not completely alone and that they can find companionship and support. Rye’s decision to care for the two children represents a sense of hope for redemption and renewal. Through her actions, she seeks to protect and educate the children, potentially contributing to the survival of the next generation. Through moments of hope, the story suggests that even in a world fractured by loss and violence, there is room for growth, change, and the emergence of a more positive and interconnected future.

Speech Sounds | Title

The title of the story, ‘ Speech Sounds ,’ holds a significant and symbolic meaning that resonates with the core themes and narrative elements of the story itself. The title’s simplicity mirrors the stripped-down, grim reality of the world in the story. It encapsulates the overarching theme of communication’s fragility and the vital role it plays in human relationships and society. The absence of speech sounds not only reflects the physical and linguistic loss but also symbolizes the emotional and psychological barriers that people face in their attempts to connect with one another in a world where language has been disrupted.

Speech Sounds | Character Sketch 

Rye (Valerie Rye):  The protagonist of the story is Rye, a black woman who has lost a great deal as a result of the illness that renders people silent in the post-apocalyptic world. She has a background in literature and history, and she once held a teaching job at UCLA. Rye is plagued by the loss of her children, husband, and other family members. She is now bitter and alone as a result of her loss. She is drawn to Obsidian’s presence, which reflects her desire for interpersonal contact. 

Obsidian:  Obsidian is a significant character in the story, wearing a uniform that implies his involvement in maintaining order. Despite his inability to communicate using spoken language, Obsidian communicates through gestures and interactions. He is literate and has the ability to read and write, which evokes jealousy in Rye due to her own inability to read.

Speech Sounds | Literary Devices

The use of  first-person narration  offers a deeply intimate and personal perspective on the events unfolding in the post-apocalyptic world. Readers can gain immediate access to Rye’s inner thoughts, worries, and wants thanks to the first-person narration. Rye’s challenges and feelings become more relevant and compelling thanks to this subjective viewpoint, which also makes readers feel a strong sense of empathy and connection with her. Readers learn more about Rye’s character and intentions as a result of her insights and contemplation. Her internal monologues highlight her emotional struggles, her desire for human connection, and the effects of her losses. This multi-dimensional portrayal adds complexity to the story’s themes. At the same time, first-person narration also introduces an element of unreliable perception. Rye’s understanding of events is filtered through her own experiences and emotions, potentially leading to misinterpretations. 

Octavia E. Butler uses  imagery  to depict the post-apocalyptic world, the characters’ surroundings, and their emotional states. The story paints a desolate and bleak landscape through imagery. Phrases like ’empty streets,’ ‘ruined buildings,’ and ‘boarded-up storefronts’ create a vivid mental picture of a world ravaged by an unspecified illness. Descriptions of streets ‘silent except for the rumbling of her own engine’ and a world where ‘the only sounds were the occasional voices of people too far away to see’ evoke a sense of stillness and emptiness. Imagery is used to describe the characters’ appearances and emotions. Furthermore, Rye’s ‘sick to her stomach with hatred, frustration, and jealousy’ creates an intense emotional image, allowing readers to sense the depth of her emotions. Imagery is also used to contrast the characters’ past experiences with their current reality. Rye’s memories of Los Angeles as a thriving city stand in stark contrast to the present state of ruin and decay. This contrast is achieved through imagery that highlights the changes that have occurred over time.

The use of  flashbacks  adds depth to the narrative by providing insights into the character’s past experiences and emotions. These flashbacks aid in drawing comparisons between the individuals’ pre-illness lifestyles and their present circumstances in the post-apocalyptic world. Throughout the narrative, Rye thinks back on her life before becoming unwell. Her memories of Los Angeles as a vibrant city with busy streets crowded with vehicles and people stand in stark contrast to the city’s current gloom and degradation. Additionally, flashbacks shed light on Rye’s own losses. The emotional toll the sickness has had on her is evident in her recollections of her spouse and children as well as her life as a teacher and writer. The flashbacks show the depth of her sorrow and her quest for meaning in her life. The juxtaposition of scenes from the past with the present world amplifies the sense of loss, hopelessness, and despair. This technique allows readers to witness the dramatic shift in the characters’ lives.

‘ Speech Sounds ‘ showcases Butler’s ability to craft compelling narratives that delve into the complexities of human behavior and societal structures. Her unique voice and storytelling style have left a lasting impact on the genre, making her an iconic figure in both science fiction and literature as a whole.

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Sound Devices in English Literature: Enhancing Poetic Expression

Sound devices are a cornerstone of English literature, infusing poetry and prose with a musical quality that can amplify meaning and emotion. These tools, which include alliteration, assonance, consonance, onomatopoeia, and rhyme, are not mere ornaments but serve to enhance the reader’s experience by engaging the auditory senses. They add depth to literary works by creating patterns that can emphasize themes or moods, making the text more memorable and impactful.

The importance of sound devices extends beyond aesthetics; they help to convey the author’s intent and shape the reader’s interpretation. For instance, alliteration’s repetition of initial consonant sounds can create rhythm or focus attention on particular words. Assonance and consonance give texture through vowel and consonant echoes, respectively. Onomatopoeia directly mimics sounds, bringing scenes to life, while rhyme schemes can stitch verses together or underscore key points.

Understanding these devices enriches one’s appreciation of literature and sharpens analytical skills. As we explore how authors use sound to breathe life into their words, we invite readers to listen closely—not just to hear but also to feel the pulse of language in every line they read or write. Exploring Sound Devices in Literature

Sound devices are linguistic flourishes that writers use to give their work a unique auditory character. These techniques are not just ornamental; they play a crucial role in enhancing the emotional resonance and rhythmic quality of literary pieces, particularly in poetry.

Alliteration, the repetition of initial consonant sounds, can create a musical effect. For instance, in “The Raven” by Edgar Allan Poe, the phrase “weak and weary” evokes a sense of exhaustion through its repetitive ‘w’ sound.

Assonance is the repetition of vowel sounds within words close to each other. It adds a melodic undertone, as seen in Alfred Lord Tennyson’s line “The moan of doves in immemorial elms.”

Consonance repeats consonant sounds at the end or middle of words, like the ‘ck’ sound in “tick-tock” from “Peter Pan” by J.M. Barrie.

Onomatopoeia uses words that imitate natural sounds, such as “buzz,” “whisper,” or “clang,” adding realism to descriptions.

Rhyme involves matching ending sounds in different words, often at the end of lines. Robert Frost’s “Stopping by Woods on a Snowy Evening” showcases this with its famous ending: “And miles to go before I sleep.”

Each device serves to draw readers deeper into the text, making the experience more immersive and memorable. The Impact and Identification of Sound Devices

Sound devices are more than mere ornaments in literature; they shape a reader’s experience and interpretation. When poets use alliteration, it can create rhythm and mood, making the text more memorable. For instance, Edgar Allan Poe’s “The Raven” uses this to instill a haunting atmosphere: “And the silken sad uncertain rustling of each purple curtain.” Similarly, assonance can evoke emotion, as seen in Keats’ “Ode to a Nightingale,” where the repetition of soft vowel sounds conveys a sense of longing.

Identifying these devices involves attentive reading and listening to the sounds within words. To spot alliteration, look for consecutive words starting with the same consonant. Assonance can be found by noting recurring vowel sounds in close proximity. Consonance appears through repeated consonant sounds, often at the end of words. Onomatopoeia stands out as it mimics real-life sounds like “buzz” or “whisper.” Rhyme is recognizable at the end of lines where words sound alike.

By tuning into these elements, readers gain a deeper appreciation for the text’s musicality and emotional resonance. Engaging with sound devices enriches our understanding and enjoyment of literary works. Conclusion: The Symphony of Sound Devices in Literature

In summary, sound devices are a vital aspect of English literature that enhance the rhythm, tone, and emotional impact of both poetry and prose. Through alliteration’s repetitive consonant sounds, assonance’s echoing vowel sounds, consonance’s harmonious consonant patterns, onomatopoeia’s imitation of real-life sounds, and rhyme’s matching end sounds, authors create a rich auditory experience for readers.

For instance, Edgar Allan Poe’s “The Raven” demonstrates the haunting effect of rhyme and meter, while the sibilance in Sally sells seashells by the seashore adds a musical quality to this tongue twister. These devices draw readers into the text, evoking moods and emphasizing themes.

As we close this exploration of sound devices, let us encourage readers and writers alike to attune their ears to the subtle symphony within literature. By recognizing and appreciating these elements, one can deepen their understanding of literary works and enrich their own writing. So next time you delve into a poem or a novel, listen closely to the music woven through the words—it may just reveal a new dimension of storytelling magic.

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Definition of Consonance

Consonance is a literary device that refers to the repetition of the same consonant sounds in a line of text. The focus, in the use of consonance, is on the sound made by consonants and not necessarily the letters themselves. In addition, alike consonant sounds can appear at the beginning, middle, or end of words, and consonance is created when these words appear in quick succession.

Consonance is frequently used as a poetic device. This allows poets to arrange words in an interesting way that can intensify artistic language and appeal to readers and listeners. For example, Edgar Allan Poe effectively utilizes consonance in his poem “ The Raven .”

But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore— What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.”

Consonance is featured throughout this stanza ; however, it is utilized heavily in the fifth line with “grim, ungainly, ghastly, gaunt.” This repetition of the hard “g” sound calls attention to the words used to describe the raven and results in the reader pausing over this string of adjectives to understand the image they portray and its meaning.

Common Examples of Consonance in Everyday Speech

People often use phrases with consonance in everyday conversation. These phrases may sometimes sound cliché, yet they are effective in expressing familiar meanings. In addition, repetitive sounds in paired words are often appealing to both speakers and listeners. Here are some common examples of consonance in everyday speech:

• fuddy duddy
• it’s a matter of time
• pitter patter
• odds and ends
• tea and toast
• lily livered
• Better Late Than Never
• jump through a hoop
• a little later
• front and center

Examples of Consonance in “Tongue Twisters”

“Tongue twisters” are sequences of words or sounds that feature consonance (and alliteration ), which makes them difficult to say correctly or quickly. They are often used to encourage language learners and are considered fun for children to hear the similar sound repeated in different words. Tongue twisters are also useful for practicing and enhancing articulation, pronunciation, and fluency. Many professional speakers utilize them for verbal exercises.

Here are some examples of consonance in tongue twisters:

• Betty Botter bought some butter But she said the butter’s bitter If I put it in my batter, it will make my batter bitter But a bit of better butter will make my batter better So ‘twas better Betty Botter bought a bit of better butter
• If Peter Piper picked a peck of pickled peppers Where’s the peck of pickled peppers Peter Piper picked?
• Rubber baby buggy bumpers
• A really leery Larry rolls readily to the road
• She sells seashells on the seashore. The shells she sells are seashells, I’m sure. And if she sells seashells on the seashore, Then I’m sure she sells seashore shells.
• Betty’s big bunny bobbled by the blueberry bush
• Cooks cook cupcakes quickly

Famous Examples of Consonance in Fictional Character Names

Many fictional characters have names that feature consonance. This repetition of consonant sounds can make their names memorable for readers, or even enhance the humor or fantastical nature of their character . Here are some famous examples of consonance in fictional character names:

• Bilbo Baggins
• Lisa Simpson
• Dick Dastardly
• Holly Hollister
• Cosmo Kramer
• Philip Marlowe
• George Jetson
• Rudolph the Red-Nosed Reindeer
• Severus Snape
• Wizard of Oz
• Foghorn Leghorn
• Lucille Bluth
• Holly Golightly
• Dread Pirate Roberts
• Yosemite Sam

Difference Between Consonance, Alliteration, and Assonance

Consonance, alliteration, and assonance are all literary devices that utilize sound as a means of enhancing the emphasis, attention, significance, and importance of words. This creates both artistic and/or rhetorical effect in works of poetry, prose , or speech. Consonance refers to the repetition of consonant sounds in successive words, whether these sounds are placed at the word’s beginning, middle, or end.

Alliteration is a subcategory of consonance in that this device almost exclusively refers to the repetition of initial consonant sounds. Alliteration is used to begin the start of several words in a line of text with the same consonant sound. Assonance is similar to consonance in that the sounds can be repeated at the beginning, middle, or end of words in close proximity to each other. However, assonance refers to the repetition of vowel sounds, not consonants.

Examples of Consonance in Literature

Consonance is a useful literary device, particularly in poetry. The repetition of consonant sounds can produce a dramatic auditory effect for readers and listeners. Consonance also calls attention to the impact of words in a rhetorical and artistic sense by signifying a writer’s purposeful and thematic combination of words. This enables writers to call the attention and focus of their audience to the subject of the literary work.

Here are some examples of consonance in literature:

Example 1: Sonnet 64 – When I have seen by Time’s fell hand defac’d (William Shakespeare)

When I have seen by Time’s fell hand defac’d The rich proud cost of outworn buried age; When sometime lofty towers I see down-ras’d And brass eternal slave to mortal rage; When I have seen the hungry ocean gain Advantage on the kingdom of the shore, And the firm soil win of the wat’ry main, Increasing store with loss and loss with store; When I have seen such interchange of state, Or state itself confounded to decay; Ruin hath taught me thus to ruminate, That Time will come and take my love away. This thought is as a death, which cannot choose But weep to have that which it fears to lose.

In this sonnet , Shakespeare incorporates consonance in nearly every line. This is an effective poetic device in that the sounds of the words enhance the emotion and imagery of the overall poem. For example, line eleven features consonance in the words “ruin” and “ruminate,” which heighten the emotional impact for the reader. The idea that the poet has been taught by “ruin” to reflect on his love and fear may cause the reader to identify with these feelings and “ruminate” as well.

In addition, the repetition and combination of the “th” and “s” sounds in line 13 evoke an image of solemnity and whispering, which reinforces the context of death and decay as described in the poem. In turn, the poet’s use of consonance as a literary device is symbolic of the repetitious thoughts of the poet that “Time” will cause his love (and beloved ) to wear away and disappear. This repetitive thought process of fearing the loss of his love is an entrapment for the poet that appears to limit any joy or solace that his love might bring to him. The combined effect of consonance and idea repetition for the reader, therefore, is a deeper understanding and sympathy for the poet’s repetitive thoughts and feelings.

The Love Song of J. Alfred Prufrock (T.S. Eliot)

Shall I part my hair behind?   Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.

In his poem, Eliot utilizes consonance to achieve a musical quality for his poetic language as well as to create memorable imagery and meaning. Specifically, the poet’s repetition of consonant sounds in the final stanza with words such as “waves,” “water,” “white,” and “wind,” enhances the poet’s musical and artistic use of language as well as reinforces the image of the sea and mermaids singing.

Ironically, Eliot’s use of consonance in the single line before the last stanza gives the poem deeper meaning. The repetition of “th” sound in “think that they” creates a sense of stuttering for the reader–a sound that is in opposition to singing. The consonance in this line undermines the musicality of the final stanza and the image of mermaids singing. However, it reinforces and gives greater meaning to the idea that the poet believes the mermaids will not sing to him.

Example 3:  Not Waving but Drowning  (Stevie Smith)

Nobody heard him, the dead man, But still he lay moaning: I was much further out than you thought And not waving but drowning . Poor chap, he always loved larking And now he’s dead It must have been too cold for him his heart gave way, They said. Oh, no no no, it was too cold always (Still the dead one lay moaning) I was much too far out all my life And not waving but drowning.

In her poem, Smith utilizes consonance in more than one way for poetic effect. For example, the use of consonance at the end of the words “moaning” and “drowning” form an “imperfect” rhyme . This still produces a rhyming effect for the reader, yet it allows the poet to incorporate words with purposeful meaning to the overall poem rather than limiting the choice of words to those that rhyme perfectly.

The consonance in the second stanza is also effective for readers, particularly with the succession of the words “him his heart.” As alliteration is a form of consonance, this enhances the flow and musicality of the poetic line and creates a sharp contrast with the harsh brevity of the subsequent line.

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Literary Devices

Literary devices, terms, and elements, definition of voice.

Voice in literature is the individual style in which a certain author writes his or her works. Voice includes many different literary devices and stylistic techniques, including syntax , semantics, diction , dialogue , character development, tone, pacing, and even punctuation. Though the definition of voice can feel like a somewhat nebulous concept, voice is integral to appreciating a piece of literature. Authors are generally thought to have a unique voice that appears across their entire oeuvre, even if they change from one genre to another.

Common Examples of Voice

Each of us has a literal voice that is different than anyone else’s. Not only does it sound different; we also use specific speech patterns, vocabulary, inflections, turns of phrase, and so on that makes our voice recognizable and unique. We become accustomed to the regularity and uniqueness of the voices of loved ones and famous people alike. Those who are adept at impressions can pick out the way that a person uses his or her voice in that unique way. Consider the fact that many people, when they read the following lines, think of Martin Luther King’s specific and unique voice delivering these words:

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today!

Significance of Voice in Literature

Though voice sometimes may seem hard to define and distinguish from one author to another, there is a scientific way to research a unique author’s voice. Developed in the late 1800s by Polish philosopher Wincenty Lutosławski, there is a technique called stylometry meant to define the linguistic style of a particular writer. Lutosławski created this method originally to establish a chronology of Plato’s works, but it has been used in many different ways. For example, some literary scholars doubted the provenance of William Shakespeare’s works, wondering if he wrote all of them or if they should be attributed to other writers of his day, such as Christopher Marlowe. A thorough analysis of the voice via the methods of stylometry proved that all of Shakespeare’s works that are attributed to him were indeed written by him; the voice was consistent.

Indeed, just as each human being has a unique voice, so too does each writer have a unique voice in their works of literature. Some of these are more distinct than others; below, you will find some of the most famously unique literary voices in all of history.

Examples of Voice in Literature

ROMEO: But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green And none but fools do wear it; cast it off.

( Romeo and Juliet by William Shakespeare)

William Shakespeare’s works are characterized by many factors, such as his penchant for iambic pentameter , metaphor , and deep themes of love, envy, greed, and vengeance. Those who applied stylometry methods to Shakespeare’s works found a certain consistency in word usage, sentence length, and the arrangement of words in a line. Though other writers of his time used similar techniques, there is simply no writer like Shakespeare.

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.”

(“The Raven” by Edgar Allen Poe)

Edgar Allen Poe used many macabre, dark, and mysterious elements in his writing. The central plot of his famous poem “The Raven” is a narrator who goes incrementally madder as he thinks on his lost love and contemplates a raven who will not leave him alone. There is often a sense of creepiness that invades his works of literature, but Poe is also amazingly adept with meter and rhyme . His poetry often does not stick to more common meters such as Shakespeare’s iambic pentameter, but instead experiments with more rolling rhythms and differing line lengths.

…and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.

( Ulysses by James Joyce)

James Joyce’s style varied wildly from one text to another, and yet even as his style evolved, his authorial voice is consistent. The above excerpt is the very final part of Molly Bloom’s soliloquy that ends Joyce’s epic masterpiece Ulysses . Joyce often experimented with stream of consciousness writing, and pushed the bounds of what could be considered a sentence. There is a certain exuberance on display in the above excerpt that makes it a beautiful example of voice.

‘Four reales.’ ‘We want two Anis del Toro.’ ‘With water?’ ‘Do you want it with water?’ ‘I don’t know,’ the girl said. ‘Is it good with water?’ ‘It’s all right.’ ‘You want them with water?’ asked the woman. ‘Yes, with water.’ ‘It tastes like liquorice,’ the girl said and put the glass down. ‘That’s the way with everything.’ ‘Yes,’ said the girl. ‘Everything tastes of liquorice. Especially all the things you’ve waited so long for, like absinthe.’

(“Hills Like White Elephants” by Ernest Hemingway)

Ernest Hemingway has one of the most distinct voice examples in all of literature, though it’s not because of the way he embellished his sentences. Instead, it’s for stripped down way he writes a story, focusing only on the most important details and doing away with most adjectives, adverbs, and even conjunctions. Hemingway’s work often deals in subtext rather than saying everything outright. Though another writer might not choose to highlight the above dialogue, it’s clear that these simple sentences have more weight behind them than Hemingway is willing to show the reader right off.

Amaranta felt a mysterious trembling in the lace on her petticoats and she tried to grasp the sheet so that she would not fall down at the instant in which Remedios the Beauty began to rise. Úrsula, almost blind at the time, was the only person who was sufficiently calm to identify the nature of that determined wind and she left the sheets to the mercy of the light as she watched Remedios the Beauty waving goodbye in the midst of the flapping sheets that rose up with her, abandoning with her the environment of beetles and dahlias and passing through the air with her as four o’clock in the afternoon came to an end, and they were lost forever with her in the upper atmosphere where not even the highest-flying birds of memory could reach her.

( One Hundred Years of Solitude by Gabriel García Márquez)

Gabriel García Márquez is famous for being part of the generation of Latin American writers who worked with magical realism. His style allows for supernatural things to occur without any characters being overly surprised that they’re happening. García Márquez often writes long, beautiful sentences, in contrast to Hemingway’s short, sharp sentences.

Test Your Knowledge of Voice

1. Which of the following statements is the best voice definition? A. A style in which an author writes a particular book, and which varies greatly depending on the book. B. The consistent way in which an author writes across his or her entire body of works. C. The way a narrator presents a plot.

2. Which of the following literary devices is not a part of the author’s voice? A. Setting B. Grammar C. Syntax

3. Consider the following quote:

TRUE!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.

Considering the example of voice in this quote, which of the following authors excerpted above do you think wrote it?

A. William Shakespeare B. Edgar Allen Poe C. Ernest Hemingway

Choose Your Test

Sat / act prep online guides and tips, the 31 literary devices you must know.

General Education

Need to analyze The Scarlet Letter or To Kill a Mockingbird for English class, but fumbling for the right vocabulary and concepts for literary devices? You've come to the right place. To successfully interpret and analyze literary texts, you'll first need to have a solid foundation in literary terms and their definitions.

In this article, we'll help you get familiar with most commonly used literary devices in prose and poetry. We'll give you a clear definition of each of the terms we discuss along with examples of literary elements and the context in which they most often appear (comedic writing, drama, or other).

Before we get to the list of literary devices, however, we have a quick refresher on what literary devices are and how understanding them will help you analyze works of literature.

What Are Literary Devices and Why Should You Know Them?

Literary devices are techniques that writers use to create a special and pointed effect in their writing, to convey information, or to help readers understand their writing on a deeper level.

Often, literary devices are used in writing for emphasis or clarity. Authors will also use literary devices to get readers to connect more strongly with either a story as a whole or specific characters or themes.

So why is it important to know different literary devices and terms? Aside from helping you get good grades on your literary analysis homework, there are several benefits to knowing the techniques authors commonly use.

Being able to identify when different literary techniques are being used helps you understand the motivation behind the author's choices. For example, being able to identify symbols in a story can help you figure out why the author might have chosen to insert these focal points and what these might suggest in regard to her attitude toward certain characters, plot points, and events.

In addition, being able to identify literary devices can make a written work's overall meaning or purpose clearer to you. For instance, let's say you're planning to read (or re-read) The Lion, the Witch, and the Wardrobe by C.S. Lewis. By knowing that this particular book is a religious allegory with references to Christ (represented by the character Aslan) and Judas (represented by Edmund), it will be clearer to you why Lewis uses certain language to describe certain characters and why certain events happen the way they do.

Finally, literary techniques are important to know because they make texts more interesting and more fun to read. If you were to read a novel without knowing any literary devices, chances are you wouldn't be able to detect many of the layers of meaning interwoven into the story via different techniques.

Now that we've gone over why you should spend some time learning literary devices, let's take a look at some of the most important literary elements to know.

List of Literary Devices: 31 Literary Terms You Should Know

Below is a list of literary devices, most of which you'll often come across in both prose and poetry. We explain what each literary term is and give you an example of how it's used. This literary elements list is arranged in alphabetical order.

An allegory is a story that is used to represent a more general message about real-life (historical) issues and/or events. It is typically an entire book, novel, play, etc.

Example: George Orwell's dystopian book Animal Farm is an allegory for the events preceding the Russian Revolution and the Stalinist era in early 20th century Russia. In the story, animals on a farm practice animalism, which is essentially communism. Many characters correspond to actual historical figures: Old Major represents both the founder of communism Karl Marx and the Russian communist leader Vladimir Lenin; the farmer, Mr. Jones, is the Russian Czar; the boar Napoleon stands for Joseph Stalin; and the pig Snowball represents Leon Trotsky.

Alliteration

Alliteration is a series of words or phrases that all (or almost all) start with the same sound. These sounds are typically consonants to give more stress to that syllable. You'll often come across alliteration in poetry, titles of books and poems ( Jane Austen is a fan of this device, for example—just look at Pride and Prejudice and Sense and Sensibility ), and tongue twisters.

Example: "Peter Piper picked a peck of pickled peppers." In this tongue twister, the "p" sound is repeated at the beginning of all major words.

Allusion is when an author makes an indirect reference to a figure, place, event, or idea originating from outside the text. Many allusions make reference to previous works of literature or art.

Example: "Stop acting so smart—it's not like you're Einstein or something." This is an allusion to the famous real-life theoretical physicist Albert Einstein.

Anachronism

An anachronism occurs when there is an (intentional) error in the chronology or timeline of a text. This could be a character who appears in a different time period than when he actually lived, or a technology that appears before it was invented. Anachronisms are often used for comedic effect.

Example: A Renaissance king who says, "That's dope, dude!" would be an anachronism, since this type of language is very modern and not actually from the Renaissance period.

Anaphora is when a word or phrase is repeated at the beginning of multiple sentences throughout a piece of writing. It's used to emphasize the repeated phrase and evoke strong feelings in the audience.

Example: A famous example of anaphora is Winston Churchill's "We Shall Fight on the Beaches" speech. Throughout this speech, he repeats the phrase "we shall fight" while listing numerous places where the British army will continue battling during WWII. He did this to rally both troops and the British people and to give them confidence that they would still win the war.

Anthropomorphism

An anthropomorphism occurs when something nonhuman, such as an animal, place, or inanimate object, behaves in a human-like way.

Example: Children's cartoons have many examples of anthropomorphism. For example, Mickey and Minnie Mouse can speak, wear clothes, sing, dance, drive cars, etc. Real mice can't do any of these things, but the two mouse characters behave much more like humans than mice.

Asyndeton is when the writer leaves out conjunctions (such as "and," "or," "but," and "for") in a group of words or phrases so that the meaning of the phrase or sentence is emphasized. It is often used for speeches since sentences containing asyndeton can have a powerful, memorable rhythm.

Example: Abraham Lincoln ends the Gettysburg Address with the phrase "...and that government of the people, by the people, for the people shall not perish from the Earth." By leaving out certain conjunctions, he ends the speech on a more powerful, melodic note.

Colloquialism

Colloquialism is the use of informal language and slang. It's often used by authors to lend a sense of realism to their characters and dialogue. Forms of colloquialism include words, phrases, and contractions that aren't real words (such as "gonna" and "ain't").

Example: "Hey, what's up, man?" This piece of dialogue is an example of a colloquialism, since it uses common everyday words and phrases, namely "what's up" and "man."

An epigraph is when an author inserts a famous quotation, poem, song, or other short passage or text at the beginning of a larger text (e.g., a book, chapter, etc.). An epigraph is typically written by a different writer (with credit given) and used as a way to introduce overarching themes or messages in the work. Some pieces of literature, such as Herman Melville's 1851 novel Moby-Dick , incorporate multiple epigraphs throughout.

Example: At the beginning of Ernest Hemingway's book The Sun Also Rises is an epigraph that consists of a quotation from poet Gertrude Stein, which reads, "You are all a lost generation," and a passage from the Bible.

Epistrophe is similar to anaphora, but in this case, the repeated word or phrase appears at the end of successive statements. Like anaphora, it is used to evoke an emotional response from the audience.

Example: In Lyndon B. Johnson's speech, "The American Promise," he repeats the word "problem" in a use of epistrophe: "There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem."

A euphemism is when a more mild or indirect word or expression is used in place of another word or phrase that is considered harsh, blunt, vulgar, or unpleasant.

Example: "I'm so sorry, but he didn't make it." The phrase "didn't make it" is a more polite and less blunt way of saying that someone has died.

A flashback is an interruption in a narrative that depicts events that have already occurred, either before the present time or before the time at which the narration takes place. This device is often used to give the reader more background information and details about specific characters, events, plot points, and so on.

Example: Most of the novel Wuthering Heights by Emily Brontë is a flashback from the point of view of the housekeeper, Nelly Dean, as she engages in a conversation with a visitor named Lockwood. In this story, Nelly narrates Catherine Earnshaw's and Heathcliff's childhoods, the pair's budding romance, and their tragic demise.

Foreshadowing

Foreshadowing is when an author indirectly hints at—through things such as dialogue, description, or characters' actions—what's to come later on in the story. This device is often used to introduce tension to a narrative.

Example: Say you're reading a fictionalized account of Amelia Earhart. Before she embarks on her (what we know to be unfortunate) plane ride, a friend says to her, "Be safe. Wouldn't want you getting lost—or worse." This line would be an example of foreshadowing because it implies that something bad ("or worse") will happen to Earhart.

Hyperbole is an exaggerated statement that's not meant to be taken literally by the reader. It is often used for comedic effect and/or emphasis.

Example: "I'm so hungry I could eat a horse." The speaker will not literally eat an entire horse (and most likely couldn't ), but this hyperbole emphasizes how starved the speaker feels.

Imagery is when an author describes a scene, thing, or idea so that it appeals to our senses (taste, smell, sight, touch, or hearing). This device is often used to help the reader clearly visualize parts of the story by creating a strong mental picture.

Example: Here's an example of imagery taken from William Wordsworth's famous poem "I Wandered Lonely as a Cloud":

When all at once I saw a crowd, A host of golden Daffodils; Beside the Lake, beneath the trees, Fluttering and dancing in the breeze.

Irony is when a statement is used to express an opposite meaning than the one literally expressed by it. There are three types of irony in literature:

• Verbal irony: When someone says something but means the opposite (similar to sarcasm).
• Situational irony: When something happens that's the opposite of what was expected or intended to happen.
• Dramatic irony: When the audience is aware of the true intentions or outcomes, while the characters are not . As a result, certain actions and/or events take on different meanings for the audience than they do for the characters involved.
• Verbal irony: One example of this type of irony can be found in Edgar Allan Poe's "The Cask of Amontillado." In this short story, a man named Montresor plans to get revenge on another man named Fortunato. As they toast, Montresor says, "And I, Fortunato—I drink to your long life." This statement is ironic because we the readers already know by this point that Montresor plans to kill Fortunato.
• Situational irony: A girl wakes up late for school and quickly rushes to get there. As soon as she arrives, though, she realizes that it's Saturday and there is no school.
• Dramatic irony: In William Shakespeare's Romeo and Juliet , Romeo commits suicide in order to be with Juliet; however, the audience (unlike poor Romeo) knows that Juliet is not actually dead—just asleep.

Juxtaposition

Juxtaposition is the comparing and contrasting of two or more different (usually opposite) ideas, characters, objects, etc. This literary device is often used to help create a clearer picture of the characteristics of one object or idea by comparing it with those of another.

Example: One of the most famous literary examples of juxtaposition is the opening passage from Charles Dickens' novel A Tale of Two Cities :

"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, it was the spring of hope, it was the winter of despair …"

Malapropism

Malapropism happens when an incorrect word is used in place of a word that has a similar sound. This misuse of the word typically results in a statement that is both nonsensical and humorous; as a result, this device is commonly used in comedic writing.

Example: "I just can't wait to dance the flamingo!" Here, a character has accidentally called the flamenco (a type of dance) the flamingo (an animal).

Metaphor/Simile

Metaphors are when ideas, actions, or objects are described in non-literal terms. In short, it's when an author compares one thing to another. The two things being described usually share something in common but are unalike in all other respects.

A simile is a type of metaphor in which an object, idea, character, action, etc., is compared to another thing using the words "as" or "like."

Both metaphors and similes are often used in writing for clarity or emphasis.

"What light through yonder window breaks? It is the east, and Juliet is the sun." In this line from Romeo and Juliet , Romeo compares Juliet to the sun. However, because Romeo doesn't use the words "as" or "like," it is not a simile—just a metaphor.

"She is as vicious as a lion." Since this statement uses the word "as" to make a comparison between "she" and "a lion," it is a simile.

A metonym is when a related word or phrase is substituted for the actual thing to which it's referring. This device is usually used for poetic or rhetorical effect .

Example: "The pen is mightier than the sword." This statement, which was coined by Edward Bulwer-Lytton in 1839, contains two examples of metonymy: "the pen" refers to "the written word," and "the sword" refers to "military force/violence."

Mood is the general feeling the writer wants the audience to have. The writer can achieve this through description, setting, dialogue, and word choice .

Example: Here's a passage from J.R.R. Tolkien's The Hobbit: "It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats -- the hobbit was fond of visitors." In this passage, Tolkien uses detailed description to set create a cozy, comforting mood. From the writing, you can see that the hobbit's home is well-cared for and designed to provide comfort.

Onomatopoeia

Onomatopoeia is a word (or group of words) that represents a sound and actually resembles or imitates the sound it stands for. It is often used for dramatic, realistic, or poetic effect.

Examples: Buzz, boom, chirp, creak, sizzle, zoom, etc.

An oxymoron is a combination of two words that, together, express a contradictory meaning. This device is often used for emphasis, for humor, to create tension, or to illustrate a paradox (see next entry for more information on paradoxes).

Examples: Deafening silence, organized chaos, cruelly kind, insanely logical, etc.

A paradox is a statement that appears illogical or self-contradictory but, upon investigation, might actually be true or plausible.

Note that a paradox is different from an oxymoron: a paradox is an entire phrase or sentence, whereas an oxymoron is a combination of just two words.

Example: Here's a famous paradoxical sentence: "This statement is false." If the statement is true, then it isn't actually false (as it suggests). But if it's false, then the statement is true! Thus, this statement is a paradox because it is both true and false at the same time.

Personification

Personification is when a nonhuman figure or other abstract concept or element is described as having human-like qualities or characteristics. (Unlike anthropomorphism where non-human figures become human-like characters, with personification, the object/figure is simply described as being human-like.) Personification is used to help the reader create a clearer mental picture of the scene or object being described.

Example: "The wind moaned, beckoning me to come outside." In this example, the wind—a nonhuman element—is being described as if it is human (it "moans" and "beckons").

Repetition is when a word or phrase is written multiple times, usually for the purpose of emphasis. It is often used in poetry (for purposes of rhythm as well).

Example: When Lin-Manuel Miranda, who wrote the score for the hit musical Hamilton, gave his speech at the 2016 Tony's, he recited a poem he'd written that included the following line:

And love is love is love is love is love is love is love is love cannot be killed or swept aside.

Satire is genre of writing that criticizes something , such as a person, behavior, belief, government, or society. Satire often employs irony, humor, and hyperbole to make its point.

Example: The Onion is a satirical newspaper and digital media company. It uses satire to parody common news features such as opinion columns, editorial cartoons, and click bait headlines.

A type of monologue that's often used in dramas, a soliloquy is when a character speaks aloud to himself (and to the audience), thereby revealing his inner thoughts and feelings.

Example: In Romeo and Juliet , Juliet's speech on the balcony that begins with, "O Romeo, Romeo! Wherefore art thou Romeo?" is a soliloquy, as she is speaking aloud to herself (remember that she doesn't realize Romeo's there listening!).

Symbolism refers to the use of an object, figure, event, situation, or other idea in a written work to represent something else— typically a broader message or deeper meaning that differs from its literal meaning.

The things used for symbolism are called "symbols," and they'll often appear multiple times throughout a text, sometimes changing in meaning as the plot progresses.

Example: In F. Scott Fitzgerald's 1925 novel The Great Gatsby , the green light that sits across from Gatsby's mansion symbolizes Gatsby's hopes and dreams .

A synecdoche is a literary device in which part of something is used to represent the whole, or vice versa. It's similar to a metonym (see above); however, a metonym doesn't have to represent the whole—just something associated with the word used.

Example: "Help me out, I need some hands!" In this case, "hands" is being used to refer to people (the whole human, essentially).

While mood is what the audience is supposed to feel, tone is the writer or narrator's attitude towards a subject . A good writer will always want the audience to feel the mood they're trying to evoke, but the audience may not always agree with the narrator's tone, especially if the narrator is an unsympathetic character or has viewpoints that differ from those of the reader.

Example: In an essay disdaining Americans and some of the sites they visit as tourists, Rudyard Kipling begins with the line, "Today I am in the Yellowstone Park, and I wish I were dead." If you enjoy Yellowstone and/or national parks, you may not agree with the author's tone in this piece.

How to Identify and Analyze Literary Devices: 4 Tips

In order to fully interpret pieces of literature, you have to understand a lot about literary devices in the texts you read. Here are our top tips for identifying and analyzing different literary techniques:

Tip 1: Read Closely and Carefully

First off, you'll need to make sure that you're reading very carefully. Resist the temptation to skim or skip any sections of the text. If you do this, you might miss some literary devices being used and, as a result, will be unable to accurately interpret the text.

If there are any passages in the work that make you feel especially emotional, curious, intrigued, or just plain interested, check that area again for any literary devices at play.

It's also a good idea to reread any parts you thought were confusing or that you didn't totally understand on a first read-through. Doing this ensures that you have a solid grasp of the passage (and text as a whole) and will be able to analyze it appropriately.

Tip 2: Memorize Common Literary Terms

You won't be able to identify literary elements in texts if you don't know what they are or how they're used, so spend some time memorizing the literary elements list above. Knowing these (and how they look in writing) will allow you to more easily pinpoint these techniques in various types of written works.

Tip 3: Know the Author's Intended Audience

Knowing what kind of audience an author intended her work to have can help you figure out what types of literary devices might be at play.

For example, if you were trying to analyze a children's book, you'd want to be on the lookout for child-appropriate devices, such as repetition and alliteration.

Tip 4: Take Notes and Bookmark Key Passages and Pages

This is one of the most important tips to know, especially if you're reading and analyzing works for English class. As you read, take notes on the work in a notebook or on a computer. Write down any passages, paragraphs, conversations, descriptions, etc., that jump out at you or that contain a literary device you were able to identify.

You can also take notes directly in the book, if possible (but don't do this if you're borrowing a book from the library!). I recommend circling keywords and important phrases, as well as starring interesting or particularly effective passages and paragraphs.

Lastly, use sticky notes or post-its to bookmark pages that are interesting to you or that have some kind of notable literary device. This will help you go back to them later should you need to revisit some of what you've found for a paper you plan to write.

What's Next?

Looking for more in-depth explorations and examples of literary devices? Join us as we delve into imagery , personification , rhetorical devices , tone words and mood , and different points of view in literature, as well as some more poetry-specific terms like assonance and iambic pentameter .

Reading The Great Gatsby for class or even just for fun? Then you'll definitely want to check out our expert guides on the biggest themes in this classic book, from love and relationships to money and materialism .

Got questions about Arthur Miller's The Crucible ? Read our in-depth articles to learn about the most important themes in this play and get a complete rundown of all the characters .

For more information on your favorite works of literature, take a look at our collection of high-quality book guides and our guide to the 9 literary elements that appear in every story !

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Hannah received her MA in Japanese Studies from the University of Michigan and holds a bachelor's degree from the University of Southern California. From 2013 to 2015, she taught English in Japan via the JET Program. She is passionate about education, writing, and travel.

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figure of speech

What is a figure of speech definition, usage, and literary examples, figure of speech definition.

Figures of speech  (FIG-yurs of SPEEchuh) are words or phrases used in a non-literal sense for  rhetorical  effect. They are often constructed using literary devices such as  metaphor ,  simile ,  alliteration , metonymy, synecdoche, and personification. Figures of speech allow writers to apply familiar ideas and  imagery  to less familiar concepts, and they are widespread in written and spoken language.

Figure of Speech Categories

Figures of speech fall into two broad categories: tropes and scheme. These are  dozens of figures of speech  that fall into each category, so the following are a select few examples.

These are figures of speech that play with syntax, sound, and words. They often achieve their effects by utilizing repetition of words, phrases, or sounds; omission of words or punctuation; unexpected changes in word order; or paired identical grammatical structures.

• Alliteration : Repeating consonant sounds in a series of words
• Diacope: Repeating words or phrases, interrupted by one or two other words
• Homonyms: Identical words that have different meanings
• Sibilance: Repeating hissing sounds
• Asyndeton: Omitting conjunctions between related series of clauses
• Brachylogia: Omitting conjunctions between individual words
• Ellipsis: Omitting words without losing  context  or understanding
• Syncope: Omitting word or phrase parts

Changes in Word Order

• Anastrophe: Rearranging the subject, object and verb order in a phrase
• Apposition: Two phrases, often separated by commas, where the second defines the first
• Parenthesis: A rhetorical, qualifying phrase inserted into a sentence or passage
• Spoonerism: Switching syllables between two words

Paired Grammatical Structures

• Antithesis : Juxtaposing ideas
• Isocolon: Consecutive phrases of identical length in words or syllables
• Parallelism: Similar grammatical structure between two or more clauses
• Tricolon: Three consecutive phrases of identical length in words or syllables

These are figures of speech that deviate in some way from the literal meanings of words. They tend to include association or comparison to shift readers’ perceptions from words’ true definitions to a layered figurative meaning. They can be broken into five categories: reference, word play/puns, substitutions, overstatement/understatement, and inversion.

• Allegory : A narrative that is an indirect metaphor for a broader, real-world concept
• Allusion : An intertextual reference to another creative work
• Metaphor : A direct comparison between two unrelated things
• Personification: Attributing human characteristics to non-human entities

Word Play/Puns

• Innuendo: A phrase or  sentence  with a hidden (often salacious) meaning
• Malapropism: Confusing a word with a similar sounding one
• Paraprosdokian : An unexpected ending to a phrase
• Pun : Word play that makes use of a word’s multiple meanings

Substitutions

• Dysphemism: Using a harsh word or phrase to replace a gentler one
• Euphemism : Using a more agreeable word or phrase to replace an offensive one
• Metonymy: Replacing a word or term with something associated with it
• Synecdoche: Referring to a whole by its part(s) or vice versa

Overstatement/Understatement

• Grandiloquence: Speech that is pompous or grandiose
• Hyperbole : An emphatic exaggeration
• Litotes : Emphasizing a statement by negating its opposite
• Satire: Criticism of society through humorous means
• Irony : Conveying the opposite of a word’s literal meaning
• Oxymoron : Using contradictory words together
• Paradox: Using contradictory ideas to make a point
• Synesthesia: Using sensory-specific words to describe a different sense

Most Common Figures of Speech

The following are some of the most common figures of speech that appear in literature and other written forms.

• Alliteration :  This is a scheme that uses repetition of the same first consonant sound to create a musical effect. “Francine found France quite lovely” is an example of alliteration because of the repeating  f  sound in the words  Francine ,  found , and  France .
• Apostrophe:  With apostrophe, a speaker directly addresses an inanimate object, an abstract concept, or a person who is either imaginary or not present. John Donne use apostrophe in his poem “ Holy Sonnet: Death, be not proud ,” wherein he speaks directly to a personified idea of death.
• Chiasmus:  This is a scheme where the second half of an expression is balanced against the first half in a reversed order. “You should eat to live, not live to eat” is one example; it repeats the words  eat  and  live  but reverses the order the second time they occur.
• Euphemism:  This literary device takes a mild or indirect word or expression and replaces something harsh, unpleasant, or offensive with it. Saying someone  passed on  is a euphemism for  died ;  powder my nose  is a euphemism for  go to the bathroom .
• Hyperbole:  This is the use of exaggeration for emphasis or heightened effect. “If I don’t nap right now, I will die” is a hyperbolic statement; it conveys the experience of feeling tired, but readers understand the speaker won’t literally die.
• Irony:  This literary device occurs when words are used to convey the opposite of their meaning or when a situation seems directly contrary to what is expected. Famously, Alanis Morissette’s song “Ironic” lists many situations she deems ironic when they aren’t ironic at all; thus, irony.
• Litotes:  This figure of speech refers to a type of understatement. It is used to negate a statement in a way that actually affirms it. For example, saying “That’s no small chunk of change” indicates that the sum in question is, in fact, large.
• Metaphor :  A form of trope, metaphors make an implicit comparison between two unrelated things. “Love is a battlefield” is metaphoric, as it implies the experience of being in love is the same as being on a battlefield.
• Onomatopoeia :  Words that are onomatopoeic evoke the sounds of the thing they are referring to.  Hiss ,  crash , and  tick tock  are all examples because they sound like what they are describing—the sound of a snake, thunder, and a clock, respectively.
• Oxymoron:  This literary device consists of contradictory words paired together. Although the words initially appear to negate each other, they make sense when joined.  Deafening silence  is an oxymoronic pair; the adjective  deafening  means “a volume so high that nothing can be heard over it,” and the noun  silence  means “without sound.” These words are incongruous, but together they mean an overbearing, noticeable absence of sound.
• Personification:  When greater qualities of animation are given to a non-human or inanimate object, that is personification. In T.S. Eliot’s “The Love Song of J. Alfred Prufrock,” fog is described as “The yellow fog that rubs its back upon the window-panes/The yellow smoke that rubs its muzzle on the window-panes.” Here, Eliot is personifying the fog by giving it the attributes of a cat.
• Pun :  This is a humorous play on words, often using homonyms, homographs, or homophones. For example, “I’ve been to the dentist many times, so I know the drill” is a pun; it plays with the double meaning of the word  drill  as a tool of the dentistry trade and as a concept of something being routine.
• Simile :  Related to metaphors, similes are explicit comparisons made using the words  like  or  as . “Lucille’s dress was as red as a fire truck” makes an explicit comparison between the color of the dress and the color of a fire truck. This allows the reader to properly visualize what Lucille is wearing.
• Synecdoche:  This is a figure of speech wherein a part of something stands in for the whole thing. “All hands on deck” is a synecdoche because  hands  stands in for the whole crew of a ship.”

Figure of Speech and Figurative Language

People often use the terms  figurative language  and  figure of speech  interchangeably; however, they are not the same. Instead, figurative language is a broad category that contains figures of speech, as well as  imagery  and  sound devices .

Imagery adds additional aesthetic resonance to texts through the evocation of sensory details. Sound devices enhance the text through sonic means. These elements, in conjunction with figures of speech, give a deeper meaning to the language a writer uses in their work.

Why Figures of Speech Are Used

These literary devices emphasize, embellish, or clarify written or spoken language. They allow an audience to understand ideas through implied or suggested meaning, thus giving the language a more surprising, creative, and playful effect. Some figures of speech enhance imagery, while others allow writers to employ rich cultural traditions to express their ideas. Even further, other figures of speech allow writers to experiment with structure and sound to create specific effects. No matter which type is used, the expressive quality of figures of speech helps keep audiences engaged.

Examples of Figures of Speech in Literature

1. Hafizah Geter, “ Testimony ”

Geter begins her  poem :

Mr. President,

After they shot me they tackled my sister.

the sound of her knees hitting the sidewalk

made my stomach ache. It was a bad pain.

The poem is a  dramatic monologue  spoken by Tamir Rice, a 12-year old black child who was killed by police officers who mistook his toy gun for a real one. This poem uses apostrophe as the speaker, Tamir, talks directly to “Mr. President” (then president Barack Obama).

2. William Shakespeare,   Macbeth

In Act III, Scene iii., of this play, before King Duncan’s murder is discovered, Lennox and Macbeth converse:

LENNOX: The night has been unruly: where we lay,

Our chimneys were blown down: and, as they say,

Lamentings heard i’the air; strange screams of death,

And prophesying with accents terrible

Of fire combustion and confused events

New hatch’d to the woeful time: the obscure bird

Clamour’d the livelong night: some say, the earth

Was feverous and did shake.

MACBETH: ‘Twas a rough night.

LENNOX: My young remembrance cannot parallel

A fellow to it.

Pathetic fallacy is a type of trope. It occurs when human feelings and attributes are ascribed to nature. This figure of speech is used throughout this  Shakespearean  tragedy. In this particular scene, Lennox describes how terrible and strange the weather was on the evening of the murder. The way the wind and earth seem to embody the horror of King Duncan’s death is pathetic fallacy.

3. Karl Marx,   Das Kapital

In Part I (“Commodities and Money”) of Marx’s treatise on economics, philosophy, history, and political science, he claims:

In the pre-capitalist stages of society, commerce rules industry. In capitalist society, industry rules commerce.

These two sentences are an example of chiasmus. Here, “commerce” first rules “industry,” and then “industry” rules “commerce.” By reversing the order of these words/concepts, Marx employs chiasmus.

4. Toni Morrison,  Sula

The last line of Morrison’s novel is considered by some to be one of the best lines in fiction and nonfiction. The sentence describes protagonist Nel’s grief at the death of her childhood friend Sula:

It was a fine cry—loud and long—but it had no bottom and it had no top, just circles and circles of sorrow.

This sentence is rich in alliteration: “loud and long” contain  L  sounds at the beginning, as well as the repetition of  c  and  s  sounds with  cry ,  circles ,  circles , and  sorrow . The latter is also an example of sibilance.

5. Oscar Wilde,   The Importance of Being Earnest

In Wilde’s play, the main characters John Worthing and Algernon Moncrieff pose as men named Ernest, only for Jack to learn that his given name really is Ernest. He delivers the final line of the play:

On the contrary, Aunt Augusta, I’ve now realized for the first time in my life the vital importance of being Earnest.

Jack/Ernest’s declaration is a homographic pun. It means both that he understands the importance of being Ernest (his real name), as well as the importance of being  earnest  (sincere).

6. Aimee Nezhukumatathil, “ On Listening to Your Teacher Take Attendance ”

In this poem, Nezhukumatathil describes the experience of one’s name being mispronounced by a teacher taking attendance:

everyone turns around to check out

your face, no need to flush red and warm.

Just picture all the eyes as if your classroom

is one big scallop with its dozens of icy blues

and you will remember that winter your family

took you to the China see and you sank

your face in it to gaze at baby clams and sea stars

She uses a simile, “Just picture all the eyes as if your classroom/is one big scallop with its dozens of icy blues,” to explicitly compare the staring kids to the dozens of eyes that a sea scallop has.

Further Resources on Figure of Speech

Thought Catalog has a wonderful list of  figures of speech used by Homer Simpson  in  The Simpsons.

Jamcampus published a  great list  of twenty examples of metaphors in popular songs.

This is an entertaining round up of  oxymorons .

SuperSummary's library of resources and content , such as " A Beginner's Guide to Literary Analysis " and " How to Write a Summary ."

Related Terms

• Figurative language

• Figure of Speech

Figure of Speech Definition

What is a figure of speech? Here’s a quick and simple definition:

A figure of speech is a literary device in which language is used in an unusual—or "figured"—way in order to produce a stylistic effect. Figures of speech can be broken into two main groups: figures of speech that play with the ordinary meaning of words (such as metaphor , simile , and hyperbole ), and figures of speech that play with the ordinary arrangement or pattern in which words are written (such as alliteration , ellipsis , and antithesis ).

Some additional key details about figures of speech:

• The ancient Greeks and Romans exhaustively listed, defined, and categorized figures of speech in order to better understand how to effectively use language. The names of most figures of speech derive from the original Greek or Latin.
• Figures of speech that play with the literal meaning of words are called tropes , while figures of speech that play with the order or pattern of words are called schemes .
• Figures of speech can take many forms. A figure of speech can involve a single word, a phrase, an omission of a word or phrase, a repetition of words or sounds, or specific sentence structures.

Figure of Speech Pronunciation

Here's how to pronounce figure of speech: fig -yer of speech

Figures of Speech vs. Figurative Language

There's a lot of confusion about the difference between the terms "figures of speech" and " figurative language ." Most of the confusion stems from the fact that different people often use "figurative language" to mean slightly different things. The two most common (and most acceptable) definitions of figurative language are:

• Figurative language refers to any language that contains figures of speech. According to this definition, figurative language and figures of speech are not quite the same thing, but it's pretty darn close. The only difference is that figures of speech refer to each specific type of a figure of speech, while figurative language refers more generally to any language that contains any kind of figures of speech.
• Figurative language refers to words or expressions that have non-literal meanings : This definition associates figurative language only with the category of figures of speech called tropes (which are figures of speech that play with the literal meaning of words). So according to this definition, figurative language would be any language that contains tropes, but not language that contains the figures of speech called schemes.

You might encounter people using figurative speech to mean either of the above, and it's not really possible to say which is correct. But if you know about these two different ways of relating figurative language and figures of speech, you'll be in pretty good shape.

Figures of Speech, Tropes, and Schemes

The oldest and still most common way to organize figures of speech is to split them into two main groups: tropes and schemes.

• Tropes are figures of speech that involve a deviation from the expected and literal meaning of words.
• Schemes are figures of speech that involve a deviation from the typical mechanics of a sentence, such as the order, pattern, or arrangement of words.

The scheme/trope classification system is by no means the only way to organize figures of speech (if you're interested, you can find all sorts of different categorization methods for figures of speech here ). But it is the most common method, and is both simple and structured enough to help you understand figures of speech.

Generally, a trope uses comparison, association, or wordplay to play with the literal meaning of words or to layer another meaning on top of a word's literal meaning. Some of the most commonly used tropes are explained briefly below, though you can get even more detail on each from its specific LitCharts entry.

• Metaphor : A metaphor is a figure of speech that makes a comparison between two unrelated things by stating that one thing is another thing, even though this isn't literally true. For example, if someone says "it's raining cats and dogs," this obviously doesn't literally mean what it says—it's a metaphor that makes a comparison between the weight of "cats and dogs" and heavy rain. Metaphors are tropes because their effect relies not on the mechanics of the sentence, but rather on the association created by the use of the phrase "cats and dogs" in a non-literal manner.
• Simile : A simile, like a metaphor, makes a comparison between two unrelated things. However, instead of stating that one thing is another thing (as in metaphor), a simile states that one thing is like another thing. To stick with cats and dogs, an example of a simile would be to say "they fought like cats and dogs."
• Oxymoron : An oxymoron pairs contradictory words in order to express new or complex meanings. In the phrase "parting is such sweet sorrow" from Romeo and Juliet , "sweet sorrow" is an oxymoron that captures the complex and simultaneous feelings of pain and pleasure associated with passionate love. Oxymorons are tropes because their effect comes from a combination of the two words that goes beyond the literal meanings of those words.
• Hyperbole : A hyperbole is an intentional exaggeration of the truth, used to emphasize the importance of something or to create a comic effect. An example of a hyperbole is to say that a backpack "weighs a ton." No backpack literally weighs a ton, but to say "my backpack weighs ten pounds" doesn't effectively communicate how burdensome a heavy backpack feels. Once again, this is a trope because its effect comes from understanding that the words mean something different from what they literally say.

Other Common Tropes

• Antanaclasis
• Onomatopoeia
• Personification
• Periphrasis
• Rhetorical Question

Schemes are mechanical—they're figures of speech that tinker with words, sounds, and structures (as opposed to meanings) in order to achieve an effect. Schemes can themselves be broken down in helpful ways that define the sort of tinkering they employ.

• Repetition: Repeating words, phrases, or even sounds in a particular way.
• Omission: Leaving out certain words or punctuation that would normally be expected.
• Changes of word order: Shifting around words or phrases in atypical ways.
• Balance: Creating sentences or phrases with equal parts, often through the use of identical grammatical structures.

Some of the most commonly used schemes are explained briefly below, though you can get even more detail on each from its specific LitCharts entry.

• Alliteration : In alliteration, the same sound repeats in a group of words, such as the “b” sound in: “ B ob b rought the b ox of b ricks to the b asement.” Alliteration uses repetition to create a musical effect that helps phrases to stand out from the language around them.
• Assonance : A scheme in which vowel sounds repeat in nearby words, such as the "ee" sound in the proverb: "the squ ea ky wh ee l gets the gr ea se." Like alliteration, assonance uses repeated sounds to create a musical effect in which words echo one another—it's a scheme because this effect is achieved through repetition of words with certain sounds, not by playing with the meaning of words.
• Ellipsis : The deliberate omission of one or more words from a sentence because their meaning is already implied. In the example, "Should I call you, or you me?" the second clause uses ellipsis. While its implication is "or should you call me," the context of the sentence allows for the omission of "should" and "call." Ellipsis is a scheme because it involves an uncommon usage of language.
• Parallelism : The repetition of sentence structure for emphasis and balance. This can occur in a single sentence, such as "a penny saved is a penny earned," and it can also occur over the course of a speech, poem, or other text. Parallelism is a scheme because it creates emphasis through the mechanics of sentence structure, rather than by playing with the actual meanings of words.

Other Common Schemes

• Anadiplosis
• Antimetabole
• Brachylogia
• Epanalepsis
• Parenthesis
• Polysyndeton

Figure of Speech Examples

Figures of speech can make language more inventive, more beautiful, more rhythmic, more memorable, and more meaningful. It shouldn't be a surprise, then, that figures of speech are plentiful in all sorts of written language. The examples below show a variety of different types of figures of speech. You can see many more examples of each type at their own specific LitChart entries.

Figures of Speech Examples in Literature

Literature is riddled with figures of speech because figures of speech make language colorful and complex.

Metaphor in Daphne du Maurier's Rebecca

On and on, now east now west, wound the poor thread that once had been our drive. Sometimes I thought it lost, but it appeared again, beneath a fallen tree perhaps, or struggling on the other side of a muddied ditch created by the winter rains.

In this quote from Rebecca , Daphne du Maurier refers to a washed-out road as "the poor thread." This is a metaphor —and a trope—because the writer indirectly compares the thread to the road and expects that readers will understand that "thread" is not used literally.

Parallelism in Charles Dickens' A Tale of Two Cities

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, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way.

In the famous opening line of A Tale of Two Cities , Dickens uses parallelism —a scheme in which parts of a sentence repeat—in order to emphasize the contradictions of the time in which the book is set. Dickens has manipulated his sentence structure so that the parallel clauses emphasize the oppositional nature of his words ("it was the best of times, it was the worst of times"). The figure of speech doesn't play with the meaning of words, it emphasizes them through structure and repetition, which is why it is a scheme.

Alliteration in Nathaniel Hawthorne's "The Birthmark"

In this manner, s electing it as the s ymbol of his wife's liability to s in, s orrow, d ecay, and d eath, Aylmer's s ombre imagination was not long in rendering the birthmark a frightful object, causing him more trouble and horror than ever Georgiana's beauty, whether of s oul or s ense, had given him delight.

This passage from " The Birthmark " uses alliteration to tie together all of the things that Georgiana's birthmark is supposed to symbolize. By using words that alliterate—"sin and sorrow" and "decay and death," for example—Hawthorne is making the reader feel that these ideas are connected, rather than simply stating that they are connected. Alliteration is a figure of speech—a scheme—because it uses the mechanics of language to emphasize meaning.

Verbal Irony in Shakespeare's Julius Caesar

For Brutus is an honorable man; So are they all, all honorable men,

This quote from Julius Caesar comes from Marc Antony's speech at Caesar's funeral. Antony needs to hold Brutus and his conspirators accountable for Caesar's death without contradicting the crowd's positive impression of Brutus, so Antony uses verbal irony to simultaneously please and trouble the crowd. On the surface, Antony says what the audience wants to hear (that Brutus is honorable), but it becomes clear over the course of his speech that he means the opposite of what he says (and over time he convinces the audience to believe this opposite meaning as well). This is a figure of speech (a trope) because it's based on a play on the meaning of Antony's words.

Figures of Speech Examples in Music

Figures of speech are also common in music. Schemes fit naturally with songs because both schemes and songs manipulate sound and rhythm to enhance the meanings of words. Music also uses many tropes, because using words that have meanings beyond their literal ones makes language more interesting, and it allows songwriters to create music that uses just a few words to imply a complex meaning.

Assonance and Metaphor in Rihanna's "Diamonds"

So sh ine br igh t ton igh t, you and I We're beautiful l i ke d i amonds in the sk y Eye to eye , so al i ve We're beautiful l i ke d i amonds in the sk y

Rihanna uses assonance when she repeats the " eye " sound throughout the chorus of "Diamonds." This make the words echo one another, which emphasizes the similarity between the singer, the person she's talking about, and the "diamonds in the sky" to which she's comparing them both. Assonance is a scheme because it's using the sound of words—not their meaning—to draw a parallel between different things.

Rihanna also uses the phrase "Diamonds in the sky" as a metaphor for stars. This is a trope—a phrase that means something other than what it literally says—as Rihanna obviously doesn't think that there are actually diamonds in the sky. This verse is a good example of how figures of speech can often work together and overlap. In this case, the metaphor that allows her to use "diamonds" instead of "stars" also fits into her use of assonance (because "stars" lacks the "eye" sound).

Personification in Green Day's "Good Riddance"

Another turning point, a fork stuck in the road Time grabs you by the wrist, directs you where to go

While the first line of this song uses "a fork stuck in the road" as a metaphor for a choice, the more arresting figure of speech at work here is the personification of time in the second line. By giving "time" human characteristics—the ability to grab a person and tell them where to go—Green Day is helping listeners to make sense of the power that time has over people. This is a trope because the line doesn't mean what it literally says; instead, it's asking listeners to make a comparison between the characteristics of time and the characteristics of a person.

Anastrophe in Public Enemy's "Fight the Power"

Straight up racist that sucker was Simple and plain

In the line "Straight up racist that sucker was," Public Enemy uses anastrophe (which is the inversion of typical word order) to preserve the rhythm of the verse. Instead of saying "That sucker was straight up racist," Public Enemy chooses an odd phrasing that has one stressed syllable followed by two unstressed syllables— " ra cist that su cker was/ Sim ple and plain ." This way, the beat falls more regularly across those two lines, which allows the rapper to make his point (that Elvis was racist) without the flow sounding awkward. Since anastrophe manipulates the order of words in order to achieve a rhythmic effect, it's a scheme.

Why Do Writers Use Figures of Speech?

Figures of speech is a category that encompasses a broad variety of literary terms, so it's difficult to give one answer to this question. Writers use different figures of speech to achieve different effects.

Schemes (figures of speech that manipulate sound, syntax, and word order) can make language more beautiful, persuasive, or memorable. Writers can use schemes to draw attention to an important passage, to create a sound that mirrors (or contrasts with) the meaning of words, or to give language a rhythm that draws the reader in. As schemes tend to work through sound and rhythm, they generally produce a visceral effect, or an effect felt in the body—broadly speaking, schemes are more sensory than intellectual.

In contrast, writers use tropes to grab the reader intellectually by adding complexity or ambiguity to an otherwise simple word or phrase. Tropes can ask the reader to make a comparison between two unlike things, they can impose human qualities on nonhumans, and they can mean the opposite of what they say. Tropes engage the intellect because the reader has to be alert to the fact that tropes do not use language at face value—a trope never means what it literally says.

All figures of speech help a writer to communicate ideas that are difficult to say in words or that are more effectively communicated non-verbally. This could be by repeating harsh consonants to create a scary atmosphere, or by using a metaphor to impose the qualities of something concrete (say, a rose) onto something more difficult to define (say, love). In general, figures of speech attempt to bring out a reader's emotion and to capture their attention by making language more colorful, surprising, and complex.

Other Helpful Figure of Speech Resources

• Silva Rhetoricae on Figures of Speech : An excellent reference from BYU that explains the various ways that figures of speech have been categorized over history, including into schemes and tropes.
• Silva Rhetoricae on schemes and tropes :
• The Oxford Reference Page for Figure of Speech : A helpful definition of figures of speech in the context of the ancient study of rhetoric (did you know that the Roman rhetorician Quintillian defined "figure of speech" in 95 AD?)
• What Are Tropes in Language? Skip to the "Distinction Between Figures and Tropes" section and read to the end—full of informative and thought-provoking discussion about tropes.
• A YouTube video about tropes and schemes with pop culture examples.

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