Roy’s literary technique list – 0431 716 069

Firstly, I have been tutoring for 5 years and genuinely enjoy making English; a typically terrifying subject for many students, an enjoyable and easy subject. So I hope you find this document helpful. If you have any questions about this document or English in general, feel free to email me on [email protected]. If I have spare time and the request is not unreasonably time consuming, I will be more than happy to help.

THERE ARE HEAPS OF LISTS ONLINE. WHAT IS THE PURPOSE OF THIS LIST? I’ve listed techniques that are similar, next to each other, in the same colour. Whilst it is true that there is an abundance of lists available online, they list them alphabetically making it easy to get techniques confused with each other. Hopefully my way of listing makes your memorisation process easier. For example, repetition, anaphora and epistrophe are fairly similar, so I have listed them in a group, in the same colour, so by memorising those three collectively, hopefully you won’t get anaphora confused with apostrophe or epistrophe confused with euphemism. I have listed the definition and examples adjacent to each other. It is important you focus on the examples listed as opposed to merely memorising the definition, since knowing the definition of a technique is rendered pointless, if you can’t identify that technique. DO I NEED TO KNOW ALL OF THESE TECHNIQUES? SOME OF THEM SOUND A LITTLE UNNECESSARY? Well, I don’t think you will need to use all of these, but knowing most of them is certainly helpful. But more importantly, you need to recognise that using or identifying techniques alone, whilst important, won’t get you good marks. It is very important to ensure you explain the purpose or effect of that technique. IS THIS LIST COMPLETE AND ERROR FREE? No. No list is complete. There are many techniques that I may have missed or not heard of. But I do think this list is comprehensive enough to help you sit through your English HSC. Also, there certainly might be some errors; if there are, I would appreciate it if you messaged me and let me know of those errors, so I can fix them such that future students don’t learn incorrect information. Finally, if you feel like you aren’t doing as well as you would like to in English, I would like you to know that I offer tutoring, both one on one and in groups of 3 max. For inquiries related to tutoring, you can email me on the email address listed above or contact me on 0431716069.

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Roy’s literary technique list – 0431 716 069

Simile: Drawing parallels between two unrelated things through the use of ‘as’ or ‘like.’ E.g. The cabin windows have grown blank as eyeballs of the dead. Metaphor: Drawing parallels between two unrelated things by directly ascribing properties of one entity to another. E.g. He has the heart of a lion.

Alliteration: Using words that start with the same letter in close proximity to each other. E.g. The beautiful bouquet blossomed in the bright sun. Sibilance: Creation of the ‘s’ sound (Important to realise that even the letter ‘c’ can create the ‘s’ sound.) E.g. Australia is a land of scraggy shapes and sparse foliage. Assonance: Creation of the vowel sounds in a sentence or phrase. E.g. Do not go gentle into that good night, Old age should burn and rave at close of day. Consonance: Creation of sounds produced by consonants in a sentence or phrase. E.g. There is no right time to imitate the teacher.

Vivid imagery: Using adjectives which allows for images to be visualised. E.g. The bare hedges and the clammy fields are no place to sleep. Sensory detail: A type of imagery which involves making reference to the senses. E.g. The soft rose petals brushed past her skin and elicited with her both joy and excitement.

Rhetorical question: A question asked with no intention of eliciting a response. E.g. Can you imagine the suffering of Christ on the cross? Pysma: The asking of a series of questions in quick succession. E.g. Why do countries engage in war? What is to be gained from destruction? Does the end justify the means?

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Roy’s literary technique list – 0431 716 069

Symbolism: Using one entity to symbolise or refer to another entity. (Think of ‘x’ and ‘y’ as 2 entities and in this case ‘x’ refers to ‘y’ and ‘y’ can be anything/non-specific.) E.g. We all chase success and fear the other side of the coin (The ‘other side of the coin’ symbolises ‘failure.') Metonymy: Using one entity to symbolise or refer to another specific entity. (In this case ‘x’ refers to ‘y’ and ‘y’ is specific.) E.g. ‘Friends, Romans and countrymen, lend me your ears.’ (‘Lend me your ears’ refers to ‘paying attention.’) Synecdoche: Using parts to refer to the whole or using a small entity to refer to a larger entity. ((In this case ‘x’ refers to ‘y squared’ or vice versa.) E.g. Germany won the soccer world cup. (‘Germany’ is used to refer to the ‘German national team’ and thus we see how ‘whole’ represents ‘part.’) We hired hands to help us with the workload. (‘hands’ is used to refer to the hiring of ‘people’ and thus we see how ‘part’ represents ‘whole.’) Euphemism: Using a comparatively less abrasive form of expression to refer to something significantly harsher. E.g. He has drifted off to that eternal sleep. (‘Eternal sleep’ is used to refer to ‘death’ in a less abrasive manner.)

Personification: Ascribing animate qualities to an inanimate object. E.g. The waffle jumped up out of the toaster. Transferred epithet or hypallage: The active transfer of emotion from an animate object to an inanimate object. E.g. He walked down the happy road. (Note the transfer of emotions from the person to the road) Pathetic fallacy: Ascribing human feelings specifically to nature. (This is not too dissimilar to transferred epithet.) E.g. The lonely clouds wandered the skies as the thunder roared mightily. Apostrophe: Engaging in an extended discourse with an inanimate object eg a person who passed away. E.g. ‘Where be your gibes now? Your gambols?’ (Prince Hamlet addressing the dead Yorrick)

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Roy’s literary technique list – 0431 716 069

Tautology: The repetition of words with similar meaning in quick succession. E.g. This technique list is a rather enjoyable, entertaining and pleasant read. Pleonasm: The unnecessary use of words that imply the same meaning in a sentence or phrase. E.g. I saw the beast with my own eyes. (Here both ‘my’ and ‘own’ are unnecessary and imply the same thing.) Tautophrase: A phrase that repeats an idea using the same words. E.g. It is what it is. Whatever happens will happen.

Repetition: Repeating words or phrases or sentences. (There are various types of repetition, some of which are listed below.) E.g. Messi’s dribbling coupled with his pace and agility is what allows Messi to be the best player in the world. (Real Madrid fans, no need to be upset.) Anaphora: The repetition of words or a phrase at the start of clauses or verses. E.g. It was the best of times, it was the worst of times, it was the age of wisdom. Epiphora or epistrophe: The repetition of words or a phrase at the end of each clause. E.g. If you had known the virtue of the ring, or half her worthiness that gave the ring, you would not then have parted with the ring. Symploce: A combination of anaphora and epiphora in the same sentence. E.g. If they argue, we well resist. If they fight, we will resist. If they invade, we will resist. Epizeuxis: The repetition of words or phrases in quick succession with no words in between. E.g. Alone, alone, alone in the vast sea. Polyptonon: The repetition of different words that are derived from the same root or base word. E.g. It was a grievous fault and Sondip grievously paid for it. Motif or leitmotif: The repetition of an idea or concept through the entire body of work of the composer. E.g. The repetition of the idea of darkness in Joseph Conrad’s novel, Heart of Darkness.

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Roy’s literary technique list – 0431 716 069

Oxymoron: The use of contradictory words in quick succession to ultimately help expound upon a deeper level of truth. E.g. War is a terrible beauty. Juxtaposition: Positioning two opposing entities close to each other to highlight the difference/contrast between them. E.g. Observing the miniature status of the persona against the high-rise buildings filled him with surprise. Paradox: Positioning two contrasting ideas or concepts near each other, such that on the surface the sentence seems to lack meaning, but on further observation reveals deeper meaning. E.g. "I must be cruel to be kind." (Hamlet)

Antithesis: Having a thesis in the first half of the sentence and having the latter half of the sentence disprove the initial thesis. E.g. ‘It’s not that I loved Caesar less, I loved Rome more.’ (Julius Caesar) ‘To be or not to be.’ (Hamlet)

Jargon: Using vocabulary specific to a trade. E.g. Left wing people are typically more liberal minded than the average person and are pro-abortion and pro-choice. (Political jargon)

Hyperbaton: The intentional inversion of words or the structure of a sentence. An easier way to remember this technique is to remember it as ‘Yoda speak.’ E.g. Patience you must have, young Luke Skywalker. No more does death haunt me.

Zeugma: The use of one word which applies to two other words in different senses. E.g. He broke his jaw and the law at the same time. She opened the door and her heart to the helpless girl.

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Roy’s literary technique list – 0431 716 069

Accumulative listing: Mentioning a multitude of things in the same sentence. Listed below are the types of accumulative listing. Asyndeton: A type of accumulative listing where the conjunctions are intentionally left out. (No and/but/for/nor/so/yet.) E.g. ‘I came, I saw, I conquered.’ Syndeton: A type of accumulative listing where two conjuncts are joined by a conjunction. (One and/but/for/nor/so/yet.) E.g. The most important things in life are loyalty and happiness. Polysyndeton: A type of accumulative listing characterised by the repeated use of conjunctions. (Many and’s/but’s/for’s/nor’s/so’s/yet’s.) E.g. There was a low rumbling of boots, and a still slighter shuffling of shoes, and all was quiet again, and every eye on the preacher. Neither luck, nor wit, nor bravery, will save the Lannister family from eventual ruin.

Hyperbole: A wild exaggeration of the basic crux of the statement. E.g. One winter it was so cold that all the geese flew backward and all spoken words froze solid.

Understatement: A statement that undervalues something or someone. E.g. Bill Gates is financially secure. Litotes: A type of understatement that refers to an understated statement of an affirmative by using a negative description. (Think of this technique as the opposite of hyperbole) E.g. I got the results to my exams and they were really good, so I guess it wasn’t the worst day. (The use of ‘wasn’t the worst day’ serves to imply that it was in fact a good day)

Chiasmus: The use of two phrases that are not only parallel but inverted to each other. E.g. Don’t think what your country can do for you, think what you can do for your country.

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Roy’s literary technique list – 0431 716 069

Intertextual reference: Referencing another literary piece. E.g. ‘Lady Macbeth…pays the corporate-wife price, too – she subdues her own nature.’ (Margaret Atwood references Shakespeare’s play Macbeth in her speech, ‘Spotty-Handed Villainesses.) Allusion (historical/biblical): Referencing an event in a casual manner. E.g. ‘Alexander died, Alexander was buried and Alexander returneth to dust.’ (Prince Hamlet’s historical allusion seeks to place emphasis on his realisation of the frailty and transience of life)

Syllogistic reasoning: A logical argument that uses deductive reasoning to explain two or more propositions to ultimately arrive at a conclusion. E.g. Good kings choose the path of virtue over vengeance; Joffrey however chose vengeance over virtue and so Joffrey is a bad king.

(If you struggle to find techniques in certain quotes that you deem important or central to your analysis, you can almost always rely on the ones listed below.) Tone: The general mood of a sentence. Various types of tones include => Joyous/euphoric Poignant/melancholic/tragic/morose/elegiac/lachrymose Reminiscent/nostalgic Trochaic Melodramatic Didactic

Modality: The degree of certainty expressed in a sentence E.g. You can definitely go out in the wilderness today (High modality) If you do well in your exams, maybe we will buy you a gift as a reward. (Low modality)

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