Key Rhetorical Devices with Definitions and Examples

Unit III: Nonfiction Concepts, Definitions & Examples Rhetorical Devices 1. Antithesis – The opposite meanings of two ideas placed in a parallel structure for contrast. o Example: "It was the best of times, it was the worst of times." – Charles Dickens 2. Anecdote – A short personal story used to illustrate a point. o Example: A teacher starts a lesson on road safety by telling a story about a time they almost got hit by a car. 3. Alliteration – The repetition of the same consonant sound at the beginning of words. o Example: "Peter Piper picked a peck of pickled peppers." 4. Euphemism – A phrase used to replace a harsh or direct expression with a milder one. o Example: Saying "passed away" instead of "died." 5. Anaphora – The repetition of a word or phrase at the beginning of successive sentences. o Example: "I have a dream that one day... I have a dream that my four little children..." – Martin Luther King Jr. 6. Connotation – The implied meaning of a word based on cultural or emotional associations. o Example: "Home" suggests warmth and comfort, while "house" is neutral. 7. Denotation – The literal, dictionary definition of a word. o Example: The denotation of "snake" is "a legless, carnivorous reptile." 8. Hypophora – A question that is asked and immediately answered by the speaker. o Example: "Why do we need education? Because it empowers us to change the world." 9. Rhetorical Question – A question that is asked but does not expect an answer. o Example: "Who doesn’t want success?" 10. The Rule of Three – A principle that suggests things presented in threes are more effective and memorable. o Example: "Life, liberty, and the pursuit of happiness." – U.S. Declaration of Independence 11. Hyperbole – An exaggerated statement used for emphasis or dramatic effect. o Example: "I’ve told you a million times to clean your room!" 12. Understatement – A rhetorical device that minimizes the importance of something for effect. o Example: "It’s just a scratch," when referring to a deep wound. 13. Irony – A literary device where the intended meaning is different from what is stated, often the opposite. o Example: A fire station burns down. 14. Loaded Language – Words with strong emotional implications used to persuade or influence. o Example: "This cruel and heartless policy is destroying families!" 15. Figurative Language – Language that conveys meaning beyond the literal, such as metaphors and similes. o Example: "Her smile was as bright as the sun." (Simile) Rhetorical Appeals 1. Ethos (Credibility) – An appeal to the audience’s trust by demonstrating expertise or moral character. o Example: "As a doctor with 20 years of experience, I recommend this treatment." 2. Logos (Logic & Reasoning) – An appeal using facts, statistics, and logical arguments. o Example: "Studies show that students who get eight hours of sleep perform 20% better on tests." 3. Pathos (Emotion) – An appeal that evokes emotions such as sympathy, fear, or excitement. o Example: "Imagine a world where children go to bed hungry every night." Author’s Purpose 1. To Inform – Provides factual information and explanations. o Example: A news article about climate change. 2. To Persuade – Tries to convince the audience to adopt a viewpoint or take action. o Example: A speech encouraging people to recycle. 3. To Entertain – Engages the audience with stories, humor, or drama. o Example: A novel about a group of friends on an adventure. 4. To Describe – Uses vivid details to create a strong image. o Example: A travel blog describing the sights, smells, and sounds of a bustling city. Summary of “The Joy of Reading and Writing: Superman and Me” by Sherman Alexie Sherman Alexie’s autobiographical essay explores his early experiences with reading and how it shaped his identity. Growing up on the Spokane Indian Reservation, he learned to read by looking at Superman comic books and making sense of the pictures and words. His father, who had a deep love for books, influenced him by filling their home with literature. Despite the societal expectation that Native American students would struggle academically, Alexie defied these stereotypes. He describes himself as an “oddity” because he actively sought knowledge while others around him were discouraged from doing so. His passion for reading empowered him to break barriers, and later in life, he became an advocate for education among Native American youth. Key Themes:    Literacy as a means of empowerment. Overcoming stereotypes and societal expectations. The importance of books in personal and intellectual growth. Summary of Julian Treasure’s TED Talk: “How to Speak So People Want to Listen” Julian Treasure, a sound and communication expert, discusses how people can improve their speaking skills to make others listen and engage. He identifies “The Seven Deadly Sins of Speaking”, which are habits that make people lose interest in a speaker: 1. 2. 3. 4. 5. 6. 7. Gossip – Talking negatively about others. Judging – Criticizing others rather than understanding them. Negativity – Focusing on complaints instead of solutions. Complaining – Constant dissatisfaction that wears people down. Excuses – Blaming others instead of taking responsibility. Exaggeration – Overstating facts, which leads to dishonesty. Dogmatism – Presenting opinions as absolute facts. To counter these bad habits, Treasure suggests using HAIL, an acronym for:     Honesty – Speak truthfully. Authenticity – Be yourself. Integrity – Follow through on your words. Love – Speak kindly and with good intentions. Treasure also emphasizes vocal variety, including changes in pitch, pace, volume, and the use of silence, to keep listeners engaged. He encourages people to be conscious of how they speak as much as what they say. Key Takeaways:    Avoid negative speech habits that push people away. Use HAIL to communicate effectively. Adjust vocal techniques to make speech engaging and persuasive. Classroom Debate Concepts 1. Debate – A structured discussion in which two or more opposing sides present arguments on a specific topic. o Example: A classroom debate on whether schools should ban cell phones. 2. Motion – The statement or topic being debated, usually phrased as a proposition. o Example: "This house believes that social media does more harm than good." 3. Opening Statement – The first speech in a debate where each side introduces their position and main arguments. o Example: "We firmly believe that implementing a four-day school week would improve student performance and well-being." 4. Arguments and Reasons – The points presented to support a position, backed by evidence, facts, and logical reasoning. o Example: "Studies show that students who get more sleep perform better academically, which supports our stance on a later school start time." 5. Rebuttals – Direct responses to the opposing team’s arguments, aiming to disprove or weaken their claims. o Example: "While my opponent argues that social media connects people, research shows that excessive use leads to increased loneliness and depression." 6. Counterarguments – Anticipated arguments from the opposing side that are addressed and refuted before they are even brought up. o Example: "Some may say that banning homework would decrease student learning, but Finland has done so successfully while maintaining high academic performance." 7. Closing Statement – The final speech summarizing key arguments and reinforcing why a side’s position is stronger. o Example: "In conclusion, our evidence has proven that a later school start time would enhance students' health and academic success. Therefore, we urge you to support this change." Unit IV: Poetry Sound Devices: 1. Alliteration – Repetition of initial consonant sounds (e.g., "She sells sea shells"). 2. Assonance – Repetition of vowel sounds within words (e.g., "The light of the fire is a sight"). 3. Consonance – Repetition of consonant sounds, typically at the end or in the middle of words (e.g., "blank and think" or "strong and string"). 4. Onomatopoeia – Words that imitate natural sounds (e.g., buzz, crash, hiss, pop). 5. Rhyme – Repetition of similar sounding words, often at the ends of lines (e.g., "sky" and "high"). 6. Internal rhyme – Rhyme that occurs within a single line of poetry (e.g., "I drove myself to the lake and dove into the wake."). 7. End rhyme – Rhyme at the ends of lines in poetry. 8. Near rhyme (or half rhyme) – A near rhyme where the sounds are similar but not identical (e.g., "worm" and "swarm"). 9. Eye rhyme – Words that look like they should rhyme but don't when spoken (e.g., "love" and "move"). 10. Repetition – Repeating words, phrases, or lines for emphasis or effect. 11. Meter – The structured rhythm of a poem, measured in feet (e.g., iambic pentameter). 12. Rhythm – The general pattern of sound, created by stressed and unstressed syllables. Rhyme scheme is the pattern of rhymes at the end of each line in a poem. It is usually described using letters of the alphabet to show which lines rhyme with each other.   Lines that rhyme are given the same letter. Lines that don’t rhyme are given a new letter. Example: ABAB CDDC EFEF Figurative Language 1. Alliteration: Consonant sounds repeated at the beginnings of words 2. Allusion: From the verb “allude” which means “to refer to.” A reference to someone or something famous. 3. Analogy: Comparison of two or more unlike things in order to show a similarity in their characteristics There are two main types of analogy: a) Simile b) Metaphor 4. Simile: Comparison of two unlike things using “like” or “as” 5. Metaphor: Comparison of two unlike things where one word is used to designate the other (one is the other) 6. Assonance: Repeated vowel sounds in a line (or lines) of a poem. It often creates Near Rhyme. 7. Consonance: Similar to alliteration except: repeated consonant sounds can be anywhere in the words, not just at the beginning. 8. Idiom: The literal meaning of the words is not the meaning of the expression. It means something other than what it actually says. 9. Imagery: Language that provides a sensory experience using sight, sound, smell, touch, taste 10. Hyperbole: An intentional exaggeration or overstatement, often used for emphasis 11. Onomatopoeia: Words that imitate the sound that they are naming 12. Oxymoron: Combines two usually contradictory terms in a compressed paradox. 13. Personification: A nonliving thing given human of life-like qualities 14. Symbolism: The use of a word or object which represents a deeper meaning than the words themselves. It can be a material object or a written sign used to represent something invisible. Edgar Allan Poe (1809–1849) Edgar Allan Poe was born on January 19, 1809, in Boston, Massachusetts. Orphaned by age three, he was taken in by John and Frances Allan of Richmond, Virginia, though never formally adopted. Poe’s strained relationship with his foster father contributed to lifelong financial and personal struggles. Poe attended the University of Virginia briefly but left due to gambling debts. He enlisted in the U.S. Army in 1827 and published his first book of poems, Tamerlane and Other Poems, anonymously that same year. After leaving the military, he briefly attended West Point before being dismissed for neglecting his duties. In 1836 Poe married his thirteen-year-old cousin, Virginia Clemm, who remained his devoted companion until her death in 1847. During the 1830s and ’40s, Poe made his mark as a writer and editor on various literary journals. He became renowned for his masterful use of Gothic atmosphere, psychological depth, and precise poetic form. Poe published many of his most famous poems and tales during this period, including “The Raven” (1845), which brought him widespread fame; “The Fall of the House of Usher” (1839); and “The Tell-Tale Heart” (1843). He is also credited as a pioneer of the modern detective story with “The Murders in the Rue Morgue” (1841) and an early contributor to science fiction. Plagued by poverty, ill health, and personal loss, Poe’s later years were troubled. On October 7, 1849, he died in Baltimore under mysterious circumstances—his final days marked by delirium and confusion. Despite his short life and hardships, Edgar Allan Poe left an indelible legacy. His innovations in short fiction, poetic meter, and literary criticism continue to influence writers and captivate readers with their blend of macabre beauty and psychological insight. 📜 The Poem: The Raven 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.” Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here for evermore. And the silken, sad, uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating “’Tis some visitor entreating entrance at my chamber door— Some late visitor entreating entrance at my chamber door;— This it is and nothing more.” Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you”—here I opened wide the door;— Darkness there and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, “Lenore?” This I whispered, and an echo murmured back the word, “Lenore!”— Merely this and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore— Let my heart be still a moment and this mystery explore;— ’Tis the wind and nothing more!” Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door— Perched upon a bust of Pallas just above my chamber door— Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.” Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning—little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door— Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.” But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me, as my Hopes have flown before.” Then the bird said “Nevermore.” Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore— Till the dirges of his Hope that melancholy burden bore Of ‘Never—nevermore’.” 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.” This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore! Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee Respite—respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven “Nevermore.” “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted— On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?—tell me—tell me, I implore!” Quoth the Raven “Nevermore.” “Prophet!” said I, “thing of evil!—prophet still, if bird or devil! By that Heaven that bends above us—by that God we both adore— Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore— Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.” “Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— “Get thee back into the tempest and the Night’s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!—quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven “Nevermore.” And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore! Comprehension & Plot 1. What is the setting of the poem, and how does it contribute to the overall mood? The poem is set in a dark, quiet room at midnight in December. This eerie, cold, and lonely setting enhances the poem’s melancholic and mysterious atmosphere, setting the stage for the speaker's descent into despair. 2. Who is the speaker, and what do we learn about his state of mind? The speaker is a grieving, sorrowful man mourning the loss of a woman named Lenore. His emotional state is fragile—he is lonely, obsessive, and possibly on the brink of madness. 3. What is the significance of the raven entering the speaker’s chamber? The raven's entrance represents an intrusion of the unknown or supernatural into the speaker’s private mourning. It becomes a symbol of unending sorrow and possibly of death or fate. Language & Style 4. What role does repetition play in the poem (e.g., “Nevermore”)? Repetition emphasizes the speaker’s obsession and hopelessness. The repeated “Nevermore” begins as a seemingly meaningless word but grows in significance, intensifying the speaker’s despair with each use. 5. How does Poe use alliteration, internal rhyme, and meter to create musicality? Poe uses trochaic octameter (stressed-unstressed syllables) along with internal rhyme (“Once upon a midnight dreary, while I pondered, weak and weary”) and alliteration (“Doubting, dreaming dreams no mortal ever dared to dream before”) to give the poem a hypnotic, rhythmic quality that draws the reader in emotionally. 6. What are some examples of figurative language (metaphors, personification, etc.) used in the poem? o Personification: The raven is given human qualities (“Quoth the Raven, ‘Nevermore’”). o Metaphor: The raven is often interpreted as a metaphor for grief or eternal sorrow. o Allusion: The bust of Pallas refers to Athena, goddess of wisdom, implying a struggle between logic and emotion. 1. Pallas (Pallas Athena)    Line: “Perched upon a bust of Pallas just above my chamber door—” Reference: Greek mythology – Pallas Athena, goddess of wisdom and reason. Significance: Suggests a contrast between reason and emotion; the raven perching on her bust may symbolize the triumph of irrational sorrow over wisdom. 2. Night’s Plutonian Shore    Line: “Tell me what thy lordly name is on the Night’s Plutonian shore!” Reference: Roman mythology – Pluto, god of the underworld. Significance: Implies that the raven may be a messenger from the world of the dead or from a dark, mysterious afterlife. 3. Balm in Gilead    Line: “Is there—is there balm in Gilead?—tell me—tell me, I implore!” Reference: The Bible (Jeremiah 8:22) – a healing ointment from Gilead in ancient Palestine. Significance: The speaker is desperately asking if there is spiritual or emotional healing for his grief. 4. Aidenn    Line: “Is there— is there balm in Gilead?—tell me truly, I implore— Tell me, tell me, I implore!—Is there no balm in Gilead? Clasp a rare and radiant maiden whom the angels name Lenore— Clasp a rare and radiant maiden, whom the angels name Lenore? Quoth the Raven “Nevermore.”” Reference: "Aidenn" is an archaic or poetic form of Eden, from the Bible. Significance: The speaker is asking if he will be reunited with Lenore in paradise, showing his spiritual desperation and hope for an afterlife. 5. Seraphim    Line: “Swung by Seraphim whose foot-falls tinkled on the tufted floor.” Reference: The Bible – Seraphim are high-ranking angels associated with purity and God's presence. Significance: Suggests a divine or spiritual presence, possibly indicating the speaker’s hallucinations or desire for heavenly comfort. 6. Nepenthe    Line: “Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Reference: Greek mythology – Nepenthe is a mythical drug that erases sorrow and pain. Significance: The speaker longs to forget his grief and is metaphorically (or literally) asking for a drug to dull his emotional pain. Symbolism & Theme 7. What might the raven symbolize? Does its meaning change throughout the poem? The raven likely symbolizes death, the permanence of loss, or the torment of memory. At first, it seems a strange visitor, but it soon becomes a dark omen or messenger of the speaker’s doom. Its symbolism becomes heavier as the poem progresses. 8. What is the significance of the word “Nevermore”? Why might the speaker interpret it in different ways? “Nevermore” acts as a mirror to the speaker’s psychological state. Though the bird says only one word, the speaker projects his fears and feelings onto it, interpreting it as confirmation that he will never again find peace or see Lenore. 9. How does the poem explore themes of grief, memory, and madness? The speaker’s grief over Lenore drives the entire narrative. His longing for answers and signs of the afterlife lead to obsession. The raven’s unchanging response fuels his descent into madness, symbolizing how unresolved grief can consume a person. 10. What does the bust of Pallas Athena symbolize, and why is it important that the raven perches there? The bust of Pallas Athena, goddess of wisdom, suggests a conflict between reason and emotion. The raven’s perch atop this symbol of wisdom may indicate that dark emotions are overpowering rational thought. Tone & Mood 11. How does the mood shift throughout the poem, from the beginning to the end? The poem begins with a tone of quiet sorrow and curiosity, but as the speaker becomes more agitated by the raven’s responses, the mood shifts to one of despair, anger, and eventual hopelessness. 12. How does the speaker’s tone evolve, and what does it reveal about his emotional journey? His tone evolves from wistful and melancholy to desperate, then to furious and broken. This progression reflects the speaker’s psychological unraveling under the weight of his grief.