新SAT寫作高分優(yōu)秀作文的三大修辭要素

　　在日常學(xué)習(xí)、工作或生活中，說到作文，大家肯定都不陌生吧，作文是由文字組成，經(jīng)過人的思想考慮，通過語言組織來表達(dá)一個(gè)主題意義的文體。那么，怎么去寫作文呢？下面是小編精心整理的新SAT寫作高分優(yōu)秀作文的三大修辭要素，僅供參考，歡迎大家閱讀。

　　新SAT寫作高分優(yōu)秀作文的三大修辭要素

　　(1)先看第一種為Ethos。

　　下面一段話是對(duì)它的解釋，概況下就是指可信度，也就是說演講者或是作者必須要讓自己顯得可信。

　　Ethos is appeal based on the character of the speaker. It is your personal credibility, the faith people have in your integrityand competency. It’s the trusts that inspire your emotional Bank Account. An ethos-driven document relies on the reputation of the author.

　　看下面這個(gè)例子：

　　原文再現(xiàn)Adapted from E.J. Dionne Jr., “A Call for National Service”? 2013 by Washington Post. Originally published July 03, 2013:

　　Last week,the Aspen Institute gathered a politically diverse group of Americans under the banner of the “Franklin Project,” named after Ben, to declare a commitment tooffering every American between the ages of 18 and 28 a chance to give a yearof service to the country. The opportunities would include service in our armed forces but also time spent educating our fellow citizens, bringing them healthcare and preventive services, working with the least advantaged among us, and conserving our environment.

　　滿分段落：

　　Moreover, the author demonstrates a personal anecdote that “l(fā)ast week, the Aspen Institute gathered a politically diverse group of Americans…to declare a commitment to give a year of service to the country”, which provides a baseline for readers to find credence and credibility with the author’s argument.

　　(2)第二種為L(zhǎng)ogos指的是利用完全的邏輯來說服聽眾。

　　下面一段是對(duì)它的解釋:

　　Logos is appeal based on logic or reason，the logic, the reasoning part of the presentation is the only legitimate way to win friends and influence people. So Logos contains not only logic, but also the fact that is not arguable valid able figure, the sufficient reasons reasonable structures and so on.

　　例如：

　　原文再現(xiàn)Adapted from E.J. Dionne Jr., “A Call for National Service”? 2013 by Washington Post. Originally published July 03, 2013：

　　Here is the sentence in the Declaration of Independence we always remember: “We hold thesetruths to be self-evident, that all men are created equal, that they areendowed by their Creator with certain unalienable Rights, that among these areLife, Liberty and the pursuit of Happiness.”

　　滿分段落：

　　By referencing to authoritative source, E. J. Donnie Jr. in the first place builds a solid ground for his call for national service. Through quotation from one of the Founding Document, the Declaration of Independence, at the beginning of his argument, the uthor sets forth that the prerequisite of “our rights”, that is “all men are created equal”, is the fulfillment of our obligation to “pledge to each other our Lives, our Fortunes and our Sacred Honor”. It convinces the reader by logic reasoning that all the citizens should contribute to national service.

　　(3)第三種Pathos指的是情感。

　　也就是說作者或是演講者通過煽動(dòng)受眾情緒來達(dá)到目的，即

　　Pathos is appeal based on emotion，the empathic side—it’s the feeling. It means that you are in the emotional that trust another person’s communication.

　　例如下文就完美地展現(xiàn)了pathos這一修辭的應(yīng)用

　　Adapted from Paul Bogard, “Let There Be Dark.” ?2012 by Los Angeles Times. Originally published December 21, 2012.原文再現(xiàn)

　　In today’s crowded, louder, more fast-paced world, night’s darkness can provide solitude, quiet and stillness, qualities increasingly in short supply. Every religious tradition has considered darkness invaluable for a soulful life, and the chance to witness the universe has inspired artists, philosophers and everyday stargazers since time began. In a world awash with electric light...how would Van Gogh have given the world his “Starry Night”? Who knows what this vision of the night sky might inspire in each of us, in our children or grandchildren?

　　滿分段落為：

　　Finally, Bogard makes subtle yet efficient use of rhetorical questioning to persuade his audience that natural darkness preservation is essential. He asks the readers to consider “what the vision of the night sky might inspire in each of us, in our children or grandchildren?” in a way that brutally plays to each of our emotions. By asking this question, Bogard draws out heartfelt ponderance from his readers about the affecting power of an untainted night sky. This rhetorical question tugs at the readers’ heartstrings; while the reader may have seen an unobscured night skyline before, the possibility that their child or grandchild will never get the chance sways them to see as Bogard sees. This strategy is definitively an appeal to pathos, forcing the audience to directly face an emotionally-charged inquiry that will surely spur some kind of response.

　　所以我們今后在分析新SAT寫作的閱讀文章中，在修辭法這一部分就可以著重觀察下這三個(gè)要素，如果用到，我們就可以迅速識(shí)別并寫到自己的作文中。

　　新SAT寫作高分優(yōu)秀作文的三大修辭要素

　　我們分析一篇演講／辯論類文獻(xiàn)／議論文一般會(huì)從三個(gè)角度去操作：修辭手段，結(jié)構(gòu)布局和篇章風(fēng)格。我們先從這三個(gè)方面學(xué)習(xí)一下演講或者辯論中所使用的主流修辭手段和策略。

　　Hyperbole:

　　夸張，如果運(yùn)用得當(dāng)，是一種非常有力的修辭手法，但如果運(yùn)用不當(dāng)就會(huì)導(dǎo)致嚴(yán)重的誤解。該手法通過夸大陳述中的某些方面以達(dá)到強(qiáng)調(diào)的目的。讀者不能從字面上理解運(yùn)用了夸張手法的文字，需要確保明確文字的意圖所在。相較于將夸張錯(cuò)誤地當(dāng)作事實(shí)，損害夸張意圖會(huì)對(duì)作者的可信度造成更大的影響。思考以下兩個(gè)例子：“What is causing the biggest problem is that there are over threebillion people on the planet”和“The planet is getting socrowded we may have to take turns sitting down.”第一個(gè)例子或許看起來有些夸大，但實(shí)際上它陳述的是一個(gè)事實(shí)；而第二個(gè)例子是運(yùn)用夸張手法的范例，通過有意識(shí)地夸大效果陳述了基本事實(shí)。

　　Example #1: “There are more reasons for NASA tofund a trip to Jupiter than there are miles in the journey.”

　　Example #2: “At thesewords, the people became so silent you could hear a beating heart from acrossthe room.”

　　Understatement:

　　低調(diào)陳述指的是描述語言的力度比人們通常認(rèn)為的力度小。比如，形容一個(gè)五級(jí)臺(tái)風(fēng)的時(shí)候說它僅是“a bit of weather”。低調(diào)陳述既可以用來強(qiáng)調(diào)某事件的極端性，也可以用來達(dá)到諷刺的效果，如“Leonardo da Vinci had a good idea or two”。

　　Example #1: “Whatever his faults, Sir IsaacNewton did have a fairly good mind for science.”

　　Example #3: “To the uninitiated, neurophysiologycan be a bit of a challenge.”

　　Litotes:

　　曲言法（曲意法），與低調(diào)陳述相似，通過使用與描述對(duì)象狀況意義相反的詞匯強(qiáng)調(diào)某一點(diǎn)。如，不說“The trip across the mountain was a hard journey”，而說“The trip was no easy journey”。由于意外性，后一個(gè)句子比前一個(gè)句子更加有力。如果使用低調(diào)陳述那么句子應(yīng)該是“The journey was easy”。區(qū)別在于句子的組成形式和強(qiáng)調(diào)的側(cè)重點(diǎn)。

　　Example #1: “A cup of coffee would not be unwelcome.”

　　Example #2: “It’s not the smartest idea I’ve ever heard.”

　　Antithesis:

　　對(duì)偶通過語言使用上的對(duì)比來表達(dá)意義上的對(duì)比，是演講和寫作中最吸引人和最有力的修辭手法。現(xiàn)代很多著名的文字都基于對(duì)偶的使用，如尼爾·阿姆斯特朗的“That’s one small step for [a] man, one giantleap for mankind”，馬丁·路德金的“...not be judged by the colorof their skin but by the content of their character”。在聽覺上，對(duì)偶有一種天然的美，因?yàn)槿祟悆A向于對(duì)思路和想法進(jìn)行組織和分類。對(duì)偶以一種能夠喚起共鳴的方式有力地組織思想，是非常有效的寫作手法。

　　Example:“Life can be kind and cruel, full of hope and heartache,”

　　Hypophora:

　　設(shè)問是指首先提出問題，繼而回答該問題的修辭手法。盡管名字又長(zhǎng)又拗口，在寫文章來表達(dá)觀點(diǎn)或者說服讀者的時(shí)候，設(shè)問卻是最有用的修辭手段之一。比如，許多政治家都會(huì)在記者招待會(huì)上大量使用設(shè)問，以至于常遭媒體嘲諷。市長(zhǎng)可能會(huì)說“Why am I for putting more police officers on the streets? Theirpresence prevents crime”。然而，如果運(yùn)用恰當(dāng)，設(shè)問可以取得事半功倍的效果。

　　Example #1: “How do weknow this to be true? We have observed it in the lab.” Example #2: “What then of the future? Let come what may, and we shall meet itwithout fear.”

　　Rhetorical Question:

　　反問與設(shè)問是同一類修辭手法。設(shè)問提出問題并立刻回答，而反問的答案隱含在問題當(dāng)中。以下JohnMilton的文字是有效使用該手法的例子：“For what can war but endless warbreed?” 反問可以幫助作者告訴讀者所不了解的內(nèi)容；也可以幫助作者強(qiáng)調(diào)讀者已經(jīng)了解的內(nèi)容。

　　Example #1: “Inthis age of modernity, can we truly condone such horrific acts?” Example #2: “How can we expect a man to give more than we ourselves are willingto give?”

　　Procatalepsis:

　　設(shè)難是與反問相近的修辭手法。反問可以提出各種各樣的問題，而設(shè)難只與反對(duì)相關(guān)，甚至有時(shí)不提出問題就直接表示反對(duì)，如“Many other experts want to classify Sanskrit as an extinct language,but I do not”。直接表示反對(duì)既可以使作者能夠進(jìn)一步論證，又可以說服讀者。從技巧上講，設(shè)難可以體現(xiàn)作者預(yù)料到了讀者的憂慮，并經(jīng)過了深思熟慮。在議論文中，這就使論證更加有效。

　　Example #1: “There are those who would say theAmerican people could never make such sacrifices. To them I say: have we forgottenWorld War II so soon? Let us remember the rationing of tin and milk, of copperand eggs. Let us remember the hours spent in prayer, at work, and in battle onthe front. Let us remember a people coming together for one noble purpose, andmaking whatever sacrifices were needed to achieve that common goal.”

　　Example #3: “It may bepointed out that the proposed tax plan adds a burden to a small number offamilies in the upper brackets. While this may be true, the benefits offered tothose who are most in need must surely outweigh a small bit of hardship tothose who are not.”

　　Distinctio:

　　定義是作者對(duì)某個(gè)單詞的定義進(jìn)行闡釋以確保不會(huì)產(chǎn)生歧義的修辭手法。如“Before we can discuss immigration, we need to agree on the fact thatthere are huge differences between legal and illegal immigration”。詞匯是富于變化的，尤其在英語當(dāng)中，一個(gè)詞會(huì)具有多重含義。通過下定義就可以確切地將要表達(dá)的意思傳達(dá)給讀者。是否闡明將帶來差別：讀者能夠正確理解原文或者讀者所理解的意思完全不同于作者本意。

　　Example #2: “Atthis point, we have a short time left—a short timebeing less than fifty years.”

　　Example #3: “Is thesoftware easy to use (can my ninety-year old grandmother learn it) or difficult(do I need a degree in computer science)?”

　　Simile:

　　明喻指的是將一個(gè)事物比作另一個(gè)事物，這兩種事物具有某種程度上的聯(lián)系。例如，如果描述太陽從山后升起來了，不說“The sun lit up the mountain”，而是用比喻“The sunpeered, like a curious child, over the top of the mountain”顯得更好。明喻能夠營造很強(qiáng)的畫面感，這就為描述對(duì)象增添了更多的細(xì)節(jié)。它也是比較容易識(shí)別的修辭手法，將一個(gè)名詞比作另一個(gè)名詞并用“l(fā)ike”連接。基本形式是本體在前喻體在后。

　　Example #1: “Theshower room, steamy like a Louisiana summer, rang with the athletes’ jubilant laughter.”

　　Example #2: “Thenight is gentle and quiet; so, too, is my love for her.”

　　Metaphor:

　　暗喻與明喻相似，有時(shí)甚至很難將兩者區(qū)分開。明喻通過指出兩個(gè)事物之間的相似性將其中一個(gè)比作另一個(gè)，而暗喻直接說一事物是另一事物，就好像他們實(shí)際上就是同一個(gè)。就同一個(gè)話題，下面有兩個(gè)句子，第一個(gè)使用了明喻，第二個(gè)暗喻，注意兩個(gè)句子間的差別“The new boss swaggered into the office like a gunfighter in the OldWest, looking for a fight”；“The new boss was JesseJames in the office looking for a fight”。

　　Example #2: “The report was released yesterday,a beacon of hope in these troubled times.”

　　“She had the smile of a newborn babe,”

　　Example #1: “Depressionis a bottomless cup that can hold no liquid.”

　　Analogy:

　　類比是明喻更加接地氣的形式。兩種修辭手法都是出于某個(gè)具體目的將一個(gè)事物比作另一個(gè)，只是明喻通常出于文體風(fēng)格，而類比常出于更加實(shí)用的原因。類比通過人們熟知的事物解釋人們尚且不了解的事物。在教授和勸說當(dāng)中類比可以說是最有效的手法之一，能夠幫助讀者快速而準(zhǔn)確地理解意思。

　　Example : “The desirefor wealth, when unchecked, can lead only to great evil. For though a man maybegin with but a sip of wine, without restraint, the urge will grow until oneday he is a drunkard, blinded to all but his need, taking whatever steps are neededto find his fix.”

　　很多人分不清楚類比和明喻的區(qū)別，請(qǐng)參考：

　　類比、明喻和暗喻聯(lián)系緊密，類比是通過將一個(gè)艱深的概念比作一個(gè)已為人理解的概念來為前者提供更多信息，這與明喻和暗喻不同，使用明喻和暗喻是為了在讀者腦海中形成畫面。

　　類比建立在兩個(gè)概念相似處之上，通過對(duì)比闡明一個(gè)概念。作者將其運(yùn)用在勸導(dǎo)和教化的文章當(dāng)中將非常有效。

　　Eponym:

　　齊名與用典相近，引用某個(gè)名人，并將其特點(diǎn)與另一人聯(lián)系起來。有效使用齊名需要進(jìn)行權(quán)衡：如果引用的人不是很出名，讀者就不會(huì)明白引用的用意；如果過于出名，又會(huì)被看作老生常談。需要注意兩者之間的區(qū)別。下面兩個(gè)例子，第一個(gè)容易識(shí)別，而第二個(gè)只有具備印度醫(yī)學(xué)專業(yè)知識(shí)的人才能理解：“Gary was an Abe Lincoln in yesterday’sdebate”；“Agnivesha would have been proud of the patient’s recovery”。運(yùn)用得當(dāng)，齊名能夠使文章有一個(gè)完美的結(jié)尾。

　　Example #1: “A modernday Moses, he led his nation to a new beginning.” Example #3: “No oneexpected our second-rate team to win that game, but no one knew our secretweapon. He was our Prometheus, snatching fire from the gods that we mighttriumph.”

　　Sentenia:

　　格言是引用、箴言和至理名言的雅稱。通常，格言包括對(duì)來自不同來源的大量箴言的使用，但也可以引證某人，盡管并不常見。

　　Example#1: “As is often said, a bird in the hand is worth twoin the bush.” Example #3: “As Epictetus wisely noted, ‘no great thingis created suddenly.’”

　　Exemplum:

　　勸諭是一種最常用的修辭手法，也是人們可能從不會(huì)意識(shí)到其特殊性的修辭手法。如其名稱所示，勸諭指通過提供讀者例子來證明觀點(diǎn)：“The U.S. government gives its citizens freedom; one illustration ofthis is that we have the right to criticize our leaders”勸諭在任何文章中很關(guān)鍵，也應(yīng)該是主要的寫作技巧。

　　Example #1: “Anexample can be seen in the Seattle general strike of 1919, when for five daysmore than sixty-thousand workers ground the city to a halt.” Obviously, this exemplum relates to previous information.

　　Example #2: “To seethe truth in this we need look no further than the daily television news, inwhich a single segment lasting for more than five minutes is the rareexception.” This contains no reference to an actualexample, yet the example is apparent in the statement.

　　Climax:

　　層進(jìn)法是一種組織思想的寫作方法，從最不重要的思想出發(fā)，層層遞進(jìn)，最后到最重要的思想。它是基本結(jié)構(gòu)原則之一——逐漸將讀者情緒調(diào)動(dòng)到最大程度，再表達(dá)最終主旨。

　　Example #1: “He beganhis career writing horoscopes for a local paper. By nineteen, he was writingfront-page stories. At twenty-two, he published his first collection of shortessays. And just nine days shy of his twenty-sixth birthday, he won thePulitzer for his work at The New York Times.”

　　Example #2: “Cautioncan be a useful human emotion. Fear tends to cloud our better judgment. Angerturns us away from what we know to be right. Hate overwhelms us and ultimatelydevours our humanity.”

　　Parallelism/Chiasmus:

　　對(duì)于作者或演講者而言，平行結(jié)構(gòu)是最重要的組織技巧之一，指的是在一個(gè)句子的多個(gè)部分或多個(gè)句子當(dāng)中使用同一個(gè)結(jié)構(gòu)，使這些句子部分或句子具有連貫性，如丘吉爾這段著名文字：“The inherent vice of capitalism is the unequal sharing ofblessing; the inherent virtue of socialism is the equal sharing of miseries”。平行結(jié)構(gòu)使文章整體上具有連貫性，并使平衡性和組織性貫穿全文。

　　Example #1: “The manor—designed for beauty and grace, built for durability and strength,and located for privacy and safety—was the ideal homefor those three children.”

　　Example #2: “Theburglar shinnied up the drainpipe, delicately opened the window that hadconveniently been left unlocked, stealthily forced his body through, andcrashed down loudly on the kitchen floor.”

　　Anadiplosis/Conduplicatio:

　　頂真和關(guān)鍵詞連珠是兩種重復(fù)形式，能夠幫助建立文章結(jié)構(gòu)。論文寫作不提倡使用這種技巧——很多老師提醒學(xué)生不要使用，然而如果運(yùn)用恰當(dāng)，這是一種有效組織文章的技巧。與其他手法技巧一樣，使用該手法的關(guān)鍵在于明確使用是什么技巧及為什么使用。

　　Example #1: “Ineducation we find the measure of our own ignorance; in ignorance we find thebeginning of wisdom.”

　　Example #2: “Thislaw destroys the fruits of thirty years of struggle, bringing us back to a lessenlightened time. Law should be evolutionary, building up rather than tearingdown.”

　　Metabasis:

　　轉(zhuǎn)移是用來總結(jié)前面所講內(nèi)容的手法，這樣作者就可以就新的內(nèi)容展開討論：“I havediscussed various reasons that show why we need to vote for a new president ofthis company: our present leader has run the organization for twelve years, shehas not had any profitable ideas in years, her salary has doubled since 2005,the company’s stock has not moved, and her daughter hasrecently been hired as a consultant. But last week, the final incident occurredthat has led me to recommend that she be replaced”。轉(zhuǎn)移手法在長(zhǎng)篇散文和論文中是非常重要的組織方法，而其功能在較短的論文中卻是有限的。

　　轉(zhuǎn)移手法形式通常比較固定，如下面這句：“I have discussed carsand factories, and how these relate to global warming, but we have still tolook at longterm atmospheric trends”。很多作者使用轉(zhuǎn)移手法引出不與前面所述內(nèi)容的主要要點(diǎn)直接相關(guān)的論點(diǎn)，也有一些作者通過該手法引出總結(jié)部分。轉(zhuǎn)移手法還可以用于引出對(duì)比觀點(diǎn)或者看待事物的不同方式。首先列出關(guān)于議題一方觀點(diǎn)的各個(gè)要點(diǎn)，并有效地對(duì)它們有序分組。這就方便作者討論相反觀點(diǎn)，而同時(shí)使兩個(gè)對(duì)立觀點(diǎn)之間界限清楚。

　　Parenthesis:

　　插入語手法是指在寫作過程中插入旁注或者附加信息的手法。使用該手法的一種形式是括號(hào)，常見的還有破折號(hào)和逗號(hào)。許多寫作老師指導(dǎo)學(xué)生避免使用括號(hào)（標(biāo)點(diǎn)符號(hào)），認(rèn)為（）符號(hào)會(huì)削弱內(nèi)容的重要性。注意前面一句中包含的兩個(gè)該手法的例子。很多寫作風(fēng)格指導(dǎo)書都反復(fù)強(qiáng)調(diào)這點(diǎn)，有些甚至指出括號(hào)內(nèi)的內(nèi)容并不重要，可能并不需要出現(xiàn)在定稿當(dāng)中。

　　Example #1: “Thiscontinued for many years—some would say far longer thanit should have— before a new brand of politician put anend to it.”

　　Example #2: “On Christmas Day, 1492, the ship, 70 feet long, with three masts anda crew of 28 men, ran aground on the coast of Haiti.”

　　Apostrophe:

　　呼語手法是指作者中斷寫作直接提到某人或人格化的某個(gè)對(duì)象。不要將其與同名的標(biāo)點(diǎn)符號(hào)混淆，兩者沒有任何關(guān)系。

　　Example #1: “So the sun set over Paris—Paris, my firstlove, sultry and secretive, beguiling and shy, how I wanted to hold you foreveras the sun went down that summer day.”

　　Example #2: “So we near our conclusion, and I must ask you, my wise reader, tobear with me for one more small digression.”

　　Enumeratio:

　　列舉是指提供一系列相關(guān)細(xì)節(jié)的手法。該手法在結(jié)構(gòu)上用于闡釋主旨，通過列舉不同方面使主旨更具有說服力。人們?cè)趯懽鳟?dāng)中會(huì)自然而然地使用該手法，因?yàn)橹匾�議題需要進(jìn)行闡釋。

　　Example #1: “I wentto the mall, the park, the river, the salon, and, finally, home.”

　　Example #2: “Thereare three main reasons we should pay attention to this: first, the impact onour home town could be substantial; second, as voting citizens, we have aresponsibility to keep abreast of changes in the political structure; andthird, if no one pays attention to these things, politicians will have carteblanche to do whatever they choose.”

　　Antanagoge:

　　反面承認(rèn)是一種將反面觀點(diǎn)輕描淡寫的觀點(diǎn)組織形式，這樣可以減小反面觀點(diǎn)對(duì)讀者的影響，通過并列正反面觀點(diǎn)的方式實(shí)現(xiàn)。這種陳述方式應(yīng)該達(dá)到的效果是所討論話題的益處明顯大于代價(jià)。注意下面這個(gè)例子是怎么運(yùn)用反面承認(rèn)的：“While cutting automobile pollution may cause car makers to losemoney in the short run, the benefits of cleaner air and a decrease in deaths byrespiratory diseases are definitely worth the risk to businesses.”作者巧妙地將利潤降低的消極影響和空氣更加清潔及呼吸道疾病死亡率下降兩個(gè)好處放在一個(gè)句子里。在句子最后通過短語definitely worth the risk再次陳述了消極影響和好處，從而強(qiáng)調(diào)了作者觀點(diǎn)。以下是兩個(gè)使用反面承認(rèn)的例子：

　　Example #1: “Shecan be quick to anger, but when you’re in need, she’ll always be there.”

　　Example #2: “Thecar might cost a bit more than other models when it’snew, but it more than pays for itself by not breaking down nearly so often ascheaper ones.”

　　Epithet:

　　描述詞手法是常見的修辭手法，盡管有時(shí)候被過度使用，指的是用一個(gè)描述性形容詞修飾一個(gè)名詞從而創(chuàng)造一個(gè)場(chǎng)景或者引發(fā)某個(gè)想法和喚起某種感受，如，“The clear-eyed pilot safely landed the plane.”簡(jiǎn)單的描述詞手法使用與名詞相關(guān)的形容詞，如，“The tall boy towered above his peers”，而復(fù)雜的描述詞手法往往使用一個(gè)詞匯創(chuàng)造性地修飾另一個(gè)名詞從而達(dá)到更強(qiáng)的修辭效果；如“The redemptive clouds hovered close to a parched horizon”，在這個(gè)句子里形容詞創(chuàng)造性地修飾名詞形成一個(gè)不常見的搭配，給了讀者更大的理解自由度。

　　Example #1: “On the day of the historic battle,the ferocious sun rose early and looked bloody.”

　　Example #2: “Ahealing wind blew through the diseased hospital.”

　　Example #3: “It’s a mesmerizing argument, but if you keep your focus you’ll see it for what it really is.”

　　Asyndeton/Polysyndeton:

　　散珠格/連詞疊用是兩種通過連詞的不規(guī)范使用增加寫作力度的修辭手法。散珠格省略所列要素間或者句子間的連詞 (“He was tall, dark, handsome”)，連詞疊用則將連詞用于每個(gè)要素之間 (“We have an army and soldiers and tanks and planes.”)。

　　Example #1: “Jockeyingfor room on the table were turkey, gravy, mashed potatoes, pies, rolls, butter,cranberry sauce, a cornucopia of vegetables.”

　　Example #3: “His hairand face and eyes and mouth combined to form an image of absolute power.”

　　Zeugma:

　　軛式修飾法指在句中用一個(gè)單詞連接兩個(gè)或多個(gè)要素的修辭手法，而這些詞匯組合是不常見的。具體說就是，軛式修飾法包括一個(gè)動(dòng)詞連接兩個(gè)或多個(gè)主語，一個(gè)名詞連接兩個(gè)或多個(gè)代詞，一個(gè)動(dòng)詞連接兩個(gè)或多個(gè)賓語和一個(gè)動(dòng)詞連接兩個(gè)或多個(gè)形容詞性短語等形式。盡管用法很多，最常見和最實(shí)用的方法是省略重復(fù)的動(dòng)詞。如，不說“The runner lost the race. The school then cancelled his scholarship.”而說“The runner lost the race and his scholarship.”

　　Another stylistic use of zeugma is topostpone introducing the verb until the end, or near the end, of the sentence.

　　另一種方式是將動(dòng)詞放在句子最后或者接近句子最后的位置。如，

　　“The teenage sweethearts, the elderlycouple, and the flickering candles all danced late into the night.”

　　Synecdoche/Metonymy:

　　提喻和轉(zhuǎn)喻是兩種非常相近的修辭手法，指的是用事物的部分或與之聯(lián)系密切的事物指代事物整體。有很多廣泛使用的提喻和轉(zhuǎn)喻形式都非常容易為讀者識(shí)別。

　　Example #1: “Therancher boasted about how many head of cattle he owned.” [synecdoche]

　　Example #2: “Thecaptain shouted, ‘All hands on deck.’” [synecdoche]

　　Example #3: “The WhiteHouse answered its critics.” [metonymy]

　　Example #4: “The penis mightier than the sword.” [metonymy]

　　Hyperbaton:

　　倒裝是指以非常規(guī)的方式組織句子詞匯的修辭手法，可以打破句子正常順序突出某個(gè)部分或者使整個(gè)句子在文中顯得獨(dú)具匠心。

　　倒裝最常見的方式是將形容詞放在其修飾的名詞之后而不是之前。這種詞匯順序在某些語言，如法語，當(dāng)中是正常語序，而在英語中卻能賦予句子神秘感：“The forest burned with a fire unquenchable—unquenchable except by the helicopter that finally arrived”。

　　Example #1: “Youhave to admit it was a long year, but bearable.”

　　Example #2: “Intentionsprofit nothing, only promises kept matter.”

　　Example #3: “Thissort of family argument necessitates a long arbitration, courtroom style.”

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