And Pity, like a naked new-born babe,
Striding the blast, or heaven's cherubim, hors'd
Upon the sightless couriers of the air
Shall blow the horrid deed in every eye
That tears shall drown the wind.
The above extract contains a number of figures of speech which are discussed below:
There is Personification in the first line as Pity, an abstract conception, is looked upon as a living being that can stride, ride and blow.
There is also Simile in the first line, for here 'Pity" and 'babe' two different things are compared in an explicit way with the help of the word 'like'. The same figure is used when 'Pity' is likened to a 'cherubim' in a clear way.
There is Periphrasis in the third line in 'the sight less couriers of the air' which is but a round-about expression of the 'wind'.
In fourth line Euphemism is used in 'the horrid deed' which is the mild expression of a harsh fact -- murder.
Finally there is Synecdoche in the fourth line in 'eye' which is a part standing for 'man'. Hence it is a case of the part for the whole.
The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e'er gave,
Awaits alike the inevitable hour
The paths of glory lead but to the grave.
The above extract contains a number of figures of speech which are discussed below:
There is Synecdoche in the first two lines because here abstract nouns like heraldry, power, beauty, and wealth have been used to designate such common nouns as men of high birth, men of power, beautiful ladies and wealthy persons. Hence it is a case of the abstract for the concrete.
There is also Climax in the first two lines, for here four ideas are arranged in an ascending order of importance.
There is again Personification for certain abstract ideas like heraldry, power, beauty and wealth have been invested with such human qualities as boasting, making pomp, and giving; they also await like human beings. The same figure is used in the last line, too, where we observe how 'paths of glory', an abstract conception, have the living quality to 'lead'.
There is Periphrasis in 'the inevitable hour' which is a roundabout description of the hour of death. It may also be considered as a case of Euphemism because 'the inevitable hour' is a mild expression of a harsh idea -- the hour of death.
There is, again, Metonymy in 'grave' which stands for death. Hence it is a case of the symbol for the thing symbolized.
Finally there is Epigram in the last line. Despite a shocking contradiction (glory leading to death) there is a deeper truth underneath, for ever; glory fades away soon after one's death.
Milton! thou shouldst be living at this hour
England hath need of thee, she is fen
Of stagnant waters, altar, sword and pen,
Fireside, the heroic wealth of hall and bower,
Have forfeited their ancient English dower
The above extract contains a number of figures of speech which are discussed below:
There is Apostrophe in the first line where a short, impassioned address is made to Milton, a poet no longer living.
There is, again, Synecdoche in the expression 'at this hour', for here 'hour'(part) is used to signify 'age' (whole). Hence it is a case of the part for the whole.
There is also Personification in 'England hath need of thee', for here England an inanimate object, is invested with a human quality (hath need). The same figure is employed where certain inanimate object(like 'altar, sword and pen') are endowed with the quality of a living being ('have forfeited').
There is also Metaphor in 'she is a fen' because here two different objects ('she' and 'fen') are compared in an implicit way. The same figure is used in 'dower of inward happiness' where there is an implicit comparison between two different object -- 'dower' and 'happiness'.
'She(i.e. England) is fen' may also be treated as a case of Hyperbole.
Finally, there is the employment of the figure Metonymy in altar, sword, pen, fireside, hall and bower. 'Sword' and 'pen' stand for soldier and writer -- it is a case of the instrument for the agent. 'Altar', 'fireside', 'hall' and 'bower' stand respectively for the clergy, householders, knights and ladies -- it is a case of the symbol for the thing symbolized.
Sweet are the uses of adversity,
Which like the toad, ugly and venomous,
Wears yet a precious jewel in his head
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything
The above extract contains a number figures of speech which are discussed below:
There is Epigram in the first line. It is an apparently contradictory statement (for, how can the uses of misfortune be sweet?) which seems to be absurd at first sight, but being closely examined, reveals an important meaning underneath.
There is also Simile for 'adversity' is compared to a 'toad' in a clear way.
There is, again, Personification when adversity, an abstract idea, is invested with a living quality (to wear a jewel on the head). The same figure is used when 'life', an abstract conception, is attributed with the living capacity of 'finding' diverse things.
We also observe that in the first line the regular grammatical order of words (which would be : The uses of adversity are sweet) has been inverted. Hence it is an instance of Hyperbaton.
There is Periphrasis in 'precious jewel' which is a roundabout description of toad stone, 'a natural or artificial stone resembling a toad in colour and form, and long believed to be formed in a toad'.
There is further, Metonymy in 'tongues in trees'. Here the word 'tongues' (cause) is used to substitute 'voices' (effect). Hence it is a case of the cause for the effect.
We also observe the use of Synecdoche in 'sermons in stones'. Here 'stones' (part) stand for the 'mountain' (whole). Hence it is a case of the part for the whole.
The figure Climax is used in the last two lines where four things (tongues, books, sermon, and good) are arranged in an ascending order of importance.
Finally there is Hyperbole in 'good in everything' which is indeed a highly exaggerated statement.
O for a beaker full of the warm South
Full of the true, the blushful Hippocrene
With beaded bubbles winking at the brim
And purple-stained mouth
The above extract contains a number figures of speech which are discussed below:
There is Metonymy in 'South' (i.e. southern part of Europe), a place, which stands for its production, wine. Hence it is a case of the place for its production.
There is Allusion in 'Hippocrene' which reminds us of a fountain near Mount Helicon, sacred to the Muses, and said to have been produced by a stroke of the hoof of the winged horse Pegasus.
There is, again, Metaphor in 'beaded bubbles' for here a comparison ( on account of the roundness of both the objects) is implied between 'beads' and 'bubbles'. It may also be treated as a case of Alliteration on account of the repetition of the letter 'b'.
There is also Personification in 'bubbles winking' because here bubbles, inanimate objects, are invested with a living quality like 'winking'.
There is Hypallage in the expression 'blushful Hippocrene' where the epithet 'blushful' which properly belongs to a person is transferred to an inanimate object 'Hippocrene' with which it is mentally closely allied.
Finally, there is Exclamation in the first line which expresses an intense desire for drinking.
Can storied urn or animated bust
Back to its mansion call the fleeting Breath?
Can Honour's voice provoke the silent dust,
Or Flattery sooth the dull cold ear of Death?
The above extract contains a number of figures of speech which are discussed below:
The whole passage is a fine example of Interrogation as here strong denials are made in the form of questions -- questions which are asked not for eliciting any information butt for conveying answers implied within themselves.
There is Metaphor in the second line, as here the word 'fleeting' which properly belongs to a bird is transformed to 'breath' in such a way that a comparison (on account of their morality) between the bird and the breath is implied, but not clearly stated. Again, the word 'mansion' figuratively suggests the human body (on account of its value), and thereby also makes it to be a case of Metaphor.
Again, 'the fleeting breath' may be looked upon as a case of Periphrasis since the phrase describes life in a roundabout manner.
There is Personification in the third and fourth lines since 'Honour' and 'Flattery', two abstract ideas are invested with such human capacities as provoking and soothing. In the same way 'Death' is also a case of Personification since it is invested with the part of a living being, the 'ear'.
'Honour' and 'Flattery' are also examples of Synecdoche since abstract things are referred to designate concrete beings-- honourable people and flatterers. The same figure is used in the expression 'the silent dust' as here 'dust' means 'body', the species being 'material for the thing made'.
The mind its own place and in itself
Can make a Heaven of Hell, a Hell of Heaven
What matter where, if I be still the same,
And what I should be, all but less than he
Whom thunder hath made greater?
The above extract contains a number of figures of speech which are discussed below:
There is Chiasmus in 'a Heaven of Hell, a Hell of Heaven' because here the order of the words has been reversed for the sake of effect.
The expression 'he whom thunder hath made greater' may be taken as a case of Periphrasis because it is an indirect and roundabout description of God.
There is, again, Alliteration in the second line where the letter 'h' has been repeated. The same figure is applied also in the next line where the letter 'w' and 's' have been repeated.
Finally, there is Interrogation because although the last three lines are in the form of a question, they suggest their positive answer.
Base Fortune, now I see, that in thy wheel
There is a point, to which when men aspire
They tumble headlong down; that point I touched,
And, seeing there was no places to mount up higher
Why should I grieve at my declining fall?
The above extract contains a number of figures of speech which are discussed below:
There is Apostrophe in the first line because Fortune, an abstract idea, is passionately addressed as a living being.
There is also Hyperbole in 'there was no place to mount up higher', for this is certainly an exaggerated statement for one(i.e. young Mortimer) who has only become the protector of the future king(i.e the prince) and not yet the king himself.
There is Hyperbaton in 'They tumble headlong down'. In the regular grammatical order the expression would have been: 'they tumble down headlong'.
There is, again, Tautology in 'declining fall' for both of them express the same meaning.
Finally, there is Interrogation in the last line. Although in the form of a question, it suggests its own answer: Mortimer should not grieve for his fall.
Striding the blast, or heaven's cherubim, hors'd
Upon the sightless couriers of the air
Shall blow the horrid deed in every eye
That tears shall drown the wind.
The above extract contains a number of figures of speech which are discussed below:
There is Personification in the first line as Pity, an abstract conception, is looked upon as a living being that can stride, ride and blow.
There is also Simile in the first line, for here 'Pity" and 'babe' two different things are compared in an explicit way with the help of the word 'like'. The same figure is used when 'Pity' is likened to a 'cherubim' in a clear way.
There is Periphrasis in the third line in 'the sight less couriers of the air' which is but a round-about expression of the 'wind'.
In fourth line Euphemism is used in 'the horrid deed' which is the mild expression of a harsh fact -- murder.
Finally there is Synecdoche in the fourth line in 'eye' which is a part standing for 'man'. Hence it is a case of the part for the whole.
The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e'er gave,
Awaits alike the inevitable hour
The paths of glory lead but to the grave.
The above extract contains a number of figures of speech which are discussed below:
There is Synecdoche in the first two lines because here abstract nouns like heraldry, power, beauty, and wealth have been used to designate such common nouns as men of high birth, men of power, beautiful ladies and wealthy persons. Hence it is a case of the abstract for the concrete.
There is also Climax in the first two lines, for here four ideas are arranged in an ascending order of importance.
There is again Personification for certain abstract ideas like heraldry, power, beauty and wealth have been invested with such human qualities as boasting, making pomp, and giving; they also await like human beings. The same figure is used in the last line, too, where we observe how 'paths of glory', an abstract conception, have the living quality to 'lead'.
There is Periphrasis in 'the inevitable hour' which is a roundabout description of the hour of death. It may also be considered as a case of Euphemism because 'the inevitable hour' is a mild expression of a harsh idea -- the hour of death.
There is, again, Metonymy in 'grave' which stands for death. Hence it is a case of the symbol for the thing symbolized.
Finally there is Epigram in the last line. Despite a shocking contradiction (glory leading to death) there is a deeper truth underneath, for ever; glory fades away soon after one's death.
Milton! thou shouldst be living at this hour
England hath need of thee, she is fen
Of stagnant waters, altar, sword and pen,
Fireside, the heroic wealth of hall and bower,
Have forfeited their ancient English dower
The above extract contains a number of figures of speech which are discussed below:
There is Apostrophe in the first line where a short, impassioned address is made to Milton, a poet no longer living.
There is, again, Synecdoche in the expression 'at this hour', for here 'hour'(part) is used to signify 'age' (whole). Hence it is a case of the part for the whole.
There is also Personification in 'England hath need of thee', for here England an inanimate object, is invested with a human quality (hath need). The same figure is employed where certain inanimate object(like 'altar, sword and pen') are endowed with the quality of a living being ('have forfeited').
There is also Metaphor in 'she is a fen' because here two different objects ('she' and 'fen') are compared in an implicit way. The same figure is used in 'dower of inward happiness' where there is an implicit comparison between two different object -- 'dower' and 'happiness'.
'She(i.e. England) is fen' may also be treated as a case of Hyperbole.
Finally, there is the employment of the figure Metonymy in altar, sword, pen, fireside, hall and bower. 'Sword' and 'pen' stand for soldier and writer -- it is a case of the instrument for the agent. 'Altar', 'fireside', 'hall' and 'bower' stand respectively for the clergy, householders, knights and ladies -- it is a case of the symbol for the thing symbolized.
Sweet are the uses of adversity,
Which like the toad, ugly and venomous,
Wears yet a precious jewel in his head
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything
The above extract contains a number figures of speech which are discussed below:
There is Epigram in the first line. It is an apparently contradictory statement (for, how can the uses of misfortune be sweet?) which seems to be absurd at first sight, but being closely examined, reveals an important meaning underneath.
There is also Simile for 'adversity' is compared to a 'toad' in a clear way.
There is, again, Personification when adversity, an abstract idea, is invested with a living quality (to wear a jewel on the head). The same figure is used when 'life', an abstract conception, is attributed with the living capacity of 'finding' diverse things.
We also observe that in the first line the regular grammatical order of words (which would be : The uses of adversity are sweet) has been inverted. Hence it is an instance of Hyperbaton.
There is Periphrasis in 'precious jewel' which is a roundabout description of toad stone, 'a natural or artificial stone resembling a toad in colour and form, and long believed to be formed in a toad'.
There is further, Metonymy in 'tongues in trees'. Here the word 'tongues' (cause) is used to substitute 'voices' (effect). Hence it is a case of the cause for the effect.
We also observe the use of Synecdoche in 'sermons in stones'. Here 'stones' (part) stand for the 'mountain' (whole). Hence it is a case of the part for the whole.
The figure Climax is used in the last two lines where four things (tongues, books, sermon, and good) are arranged in an ascending order of importance.
Finally there is Hyperbole in 'good in everything' which is indeed a highly exaggerated statement.
O for a beaker full of the warm South
Full of the true, the blushful Hippocrene
With beaded bubbles winking at the brim
And purple-stained mouth
The above extract contains a number figures of speech which are discussed below:
There is Metonymy in 'South' (i.e. southern part of Europe), a place, which stands for its production, wine. Hence it is a case of the place for its production.
There is Allusion in 'Hippocrene' which reminds us of a fountain near Mount Helicon, sacred to the Muses, and said to have been produced by a stroke of the hoof of the winged horse Pegasus.
There is, again, Metaphor in 'beaded bubbles' for here a comparison ( on account of the roundness of both the objects) is implied between 'beads' and 'bubbles'. It may also be treated as a case of Alliteration on account of the repetition of the letter 'b'.
There is also Personification in 'bubbles winking' because here bubbles, inanimate objects, are invested with a living quality like 'winking'.
There is Hypallage in the expression 'blushful Hippocrene' where the epithet 'blushful' which properly belongs to a person is transferred to an inanimate object 'Hippocrene' with which it is mentally closely allied.
Finally, there is Exclamation in the first line which expresses an intense desire for drinking.
Can storied urn or animated bust
Back to its mansion call the fleeting Breath?
Can Honour's voice provoke the silent dust,
Or Flattery sooth the dull cold ear of Death?
The above extract contains a number of figures of speech which are discussed below:
The whole passage is a fine example of Interrogation as here strong denials are made in the form of questions -- questions which are asked not for eliciting any information butt for conveying answers implied within themselves.
There is Metaphor in the second line, as here the word 'fleeting' which properly belongs to a bird is transformed to 'breath' in such a way that a comparison (on account of their morality) between the bird and the breath is implied, but not clearly stated. Again, the word 'mansion' figuratively suggests the human body (on account of its value), and thereby also makes it to be a case of Metaphor.
Again, 'the fleeting breath' may be looked upon as a case of Periphrasis since the phrase describes life in a roundabout manner.
There is Personification in the third and fourth lines since 'Honour' and 'Flattery', two abstract ideas are invested with such human capacities as provoking and soothing. In the same way 'Death' is also a case of Personification since it is invested with the part of a living being, the 'ear'.
'Honour' and 'Flattery' are also examples of Synecdoche since abstract things are referred to designate concrete beings-- honourable people and flatterers. The same figure is used in the expression 'the silent dust' as here 'dust' means 'body', the species being 'material for the thing made'.
The mind its own place and in itself
Can make a Heaven of Hell, a Hell of Heaven
What matter where, if I be still the same,
And what I should be, all but less than he
Whom thunder hath made greater?
The above extract contains a number of figures of speech which are discussed below:
There is Chiasmus in 'a Heaven of Hell, a Hell of Heaven' because here the order of the words has been reversed for the sake of effect.
The expression 'he whom thunder hath made greater' may be taken as a case of Periphrasis because it is an indirect and roundabout description of God.
There is, again, Alliteration in the second line where the letter 'h' has been repeated. The same figure is applied also in the next line where the letter 'w' and 's' have been repeated.
Finally, there is Interrogation because although the last three lines are in the form of a question, they suggest their positive answer.
Base Fortune, now I see, that in thy wheel
There is a point, to which when men aspire
They tumble headlong down; that point I touched,
And, seeing there was no places to mount up higher
Why should I grieve at my declining fall?
The above extract contains a number of figures of speech which are discussed below:
There is Apostrophe in the first line because Fortune, an abstract idea, is passionately addressed as a living being.
There is also Hyperbole in 'there was no place to mount up higher', for this is certainly an exaggerated statement for one(i.e. young Mortimer) who has only become the protector of the future king(i.e the prince) and not yet the king himself.
There is Hyperbaton in 'They tumble headlong down'. In the regular grammatical order the expression would have been: 'they tumble down headlong'.
There is, again, Tautology in 'declining fall' for both of them express the same meaning.
Finally, there is Interrogation in the last line. Although in the form of a question, it suggests its own answer: Mortimer should not grieve for his fall.
