COMMON FIGURES OF SPEECH

1. SIMILE
In simile two unlike things are explicitly compared. For example, “She is like a fairy”. A
simile is introduced by words such as like, so, as etc.
2. METAPHOR
It is an informal or implied simile in which words like, as, so are omitted. For example, “He
is like a lion (Simile) “and “He is a lion (metaphor)”. In the following examples, metaphors
are underlined.
She is a star of our family.
The childhood of the world; the anger of the tempest; the deceitfulness of the riches: wine is a
mocker.
She is now in the sunset of her days.
3. PERSONIFICATION
Personification is an attribution of personal nature, intelligence or character to inanimate
objects or abstract notions. For example, in some phrases we use, the furious storm, the
thirsty ground, and the pitiless cold. Some other examples are:
Little sorrows sit and weep. (Boccaccio)
The dish ran away with the spoon. (Blake)
4. METONYMY
Metonymy is meant for a change of name. It is a substitute of the thing names for the thing
meant. Following examples will clarify the concept.
The pen is mightier than the sword.
From the cradle to the grave. = from childhood to death.
I have never read Milton. = the works of Milton.
5. APOSTROPHE
It is a direct address to some inanimate thing or some abstract idea as if it were living person
or some absent person as if it were present. Example, “Boy’s mother loved him very much.”
6. HYPERBOLE
Hyperbole is a statement made emphatic by overstatement. For example, “Virtues as the
sands of the shore.”
7. SYNECDOCHE
Synecdoche is the understanding of one thing by means of another. Here, a part is used to
designate the whole or the whole to designate a part. For example, “I have the Viceroy, love
the man.”, and “All hands (crew) at work.”
8. TRANSFERRED EPITHETS
In transferred epithets, the qualifying objective is transferred from a person to a thing as in
phrases. For example, “sleepless night”, “sunburn mirth”, and “melodious plain”.
9. EUPHEMISM
By using the euphemism, we speak in agreeable and favorable terms of some person, object
or event which is ordinarily considered unpleasant and disagreeable. For example,
He is telling us a fairy tale. (a lie)
He has fallen asleep. (he is dead)
10. IRONY OR SARCASM
In this mode of speech, the real meanings of the words used are different from the intended
meanings. For example, the child of cobbler has no shoe.
11. PUN
This consists of a play on the various meanings of a word. Its effect is often ludicrous. For
example,
Is life worth living? It depends upon the liver.
Obviously, the constitution is against prostitution and congress is against progress. (con
means against and pro means for)
12. EPIGRAM
It is a brief pointed saying. It couples words which apparently contradict each other. The
language of the epigram is remarkable for its brevity. Examples are as under:
The child is the father of the man. (Wordsworth)
Fools rush in where angels fear to tread.
The art lies in concealing art.
Silence is sometimes more eloquent than words.
Conspicuous by its absence.
13. ANTITHESIS
In antithesis, a striking opposition or contrast of words is made in the same sentence in order
to secure emphasis. For example,
To err is human, to forgive divine.
Give every man thy ear, but few thy voice.
14. OXYMORON
It is a figure of speech which combines two seemingly contradictory or incongruous words
for sharp emphasis or effect. For example,
“darkness visible” (Milton);
“make haste slowly” (Suetonius)
“loving hate” (Romeo and Juliet)
15. LITOTES
It is the opposite of hyperbole. Here an affirmative is conveyed by negation of the opposite.
For example,
He is no dullard.
I am not a little
He is not a bad sort.
16. INTERROGATION
This is a rhetorical mode of affirming or denying something more strongly than could be
done in ordinary language. Examples,
Who is here so base that would be a bondman?
Who is here so rude that would not be a Roman?
Who is here so vile that will not love his country? (Shakespeare)
17. EXCLAMATION
It is used for strong expression of feelings. For examples, O lift me as a wave, a leaf, a cloud
I fall upon the thorns of life; I bleed!
18. CLIMAX
It is an arrangement of a series of ideas in the order of increasing importance. For example,
“What a piece of work man! How noble in reason, how infinite in faculties! In action, how
like an angel!”
19. ANTICLIMAX OR BATHOS
This is the opposite to climax and signifies a ludicrous descent from the higher to the lower.
A man so various, that he seemed to be. Not one, but all mankind’s epitome; who in the
course of one revolving moon; was lawyer, statesman, fiddler, and buffoon.
20. ALLITERATION
The repetition of the same letter or syllable at the beginning of two or more words is called
alliteration. For example,
By apt Alliteration’s artful a
Glittering through the gloomy g
The furrow follows f
21. ONOMATOPOEIA
The formation of a word whose sound is made to suggest or echo the sense as in cuckoo,
bang, growl, hiss.
The moan of doves in immemorial elms and murmur of innumerable bees.
Rend with the tremendous sound your ears asunder with guns, drum, trumpet, blunderbuss,
and thunder.
22. CIRCUMLOCUTION
This consists of expressing some fact or idea in a roundabout way, instead of stating it at
once. For example,
The viewless couriers of the air. =(the wind)
That statement of his was purely an effort of imagination. = (a fiction)
23. TAUTOLOGY OR PLEONASM
Tautology is meant for repeating the same fact or idea in different words. For example, “It is
the privilege and birthright of every man to express his ideas without any fear.”
 My Mother at Sixty-Six
–Kamala Das

Rhyme Scheme: Free verse. No rhyme scheme.

Stanza 1
Driving from my parent’s
home to Cochin last Friday
morning, I saw my mother, beside me,
doze, open mouthed, her face ashen like that of a corpse
1. Simile
Exact Line: “her face ashen like that of a corpse”
Reason: This line uses “like” to compare the mother’s pale, ashen face to that of a corpse,
emphasizing the pallor associated with aging and frailty. It creates a stark image of the
mother’s current state, contrasting with the vitality of life.
2. Assonance
Exact Lines:
i. “Home to Cochin last Friday morning”
ii. “doze, open mouthed, her face ashen like that of a corpse”
Reason: The prominent ‘o’ sound repeated in these lines creates a sonorous effect,
contributing to the overall mood of the stanza. This assonance adds a layer of auditory
imagery, enhancing the reflective and somber tone.
3. Imagery
Exact Line: “doze, open mouthed, her face ashen”
Reason: This description creates a detailed visual image of the mother as she sleeps,
highlighting her vulnerability and the signs of ageing. It allows the reader to vividly picture
the scene, adding to the emotional depth of the poem.
4. Enjambment
Exact Lines:
i. “Driving from my parent’s home to Cochin last Friday”
ii. “morning, I saw my mother, beside me,”
Reason: Enjambment occurs when a sentence in a poem continues beyond the end of a line
without a pause, like from the first to the second line here. It creates a flowing, uninterrupted
feeling that matches the ongoing drive and the narrator’s continuous thoughts, adding
smoothness to the poem’s structure.
Stanza- 2
And realised with pain
that she was as old as she looked but soon
put that thought away, and looked out at Young
Trees sprinting, the merry children spilling
out of their homes.
1. Consonance
Exact Lines:
i. “Put that thought away and looked out at young”
ii. “That she was old as she looked but soon”
Reason: The repeated ‘t’ sound in the first line and the ‘s’ sound in the second line exemplify
consonance, creating a rhythmic and melodic quality. This technique enhances the emotional
tone of the stanza.
2. Imagery
Exact Line: “Trees sprinting, the merry children spilling out of their homes”
Reason: This vivid imagery contrasts the static, aging figure of the mother with the dynamic,
lively world outside. The description of trees and children in motion evokes a sense of vitality
and joy.
3. Repetition
Exact Line: “looked out at Young”
Reason: The repetition of “looked” underscores the poet’s shift in attention from her mother
to the outside world. It emphasizes the transition from introspection to observation.
4. Personification
Exact Line: “Trees sprinting”
Reason: The personification of trees as “sprinting” adds life and movement to the scene,
contrasting with the mother’s stillness and age.
5. Contrast
Exact Lines:
– “she was as old as she looked”
– “Young Trees sprinting, the merry children spilling”
Reason: The contrast between the elderly mother and the youthful surroundings highlights
the theme of aging and the passage of time. It brings into focus the cycle of life and the
fleeting nature of youth.
6. Metaphor
Exact Line: “Trees sprinting, the merry children spilling out of their homes”
Reason: The poet uses metaphorical language to describe the trees and children, attributing
human actions to them. This metaphor enhances the contrast between the stillness of age and
the energy of youth.
7. Juxtaposition
Exact Lines:
– “that she was as old as she looked”
– “looked out at Young Trees sprinting, the merry children spilling out of their homes”
Reason: The juxtaposition of the aging mother with the energetic surroundings emphasizes
the poet’s emotional realization and her attempt to find solace in the liveliness of the world
around her.
8. Enjambment
Exact Lines:
– “And realised with pain / that she was as old as she looked but soon”
– “put that thought away, and looked out at Young / Trees sprinting, the merry children
spilling”
Reason: The continuation of sentences across lines without pauses or end stops, particularly
in these lines, creates enjambment. This technique allows the poem to flow smoothly,
mirroring the continuous stream of the narrator’s thoughts and observations, and connecting
different parts of the narrative seamlessly.
Stanza- 3
But after the airport’s
Security check, standing a few yards
Away, I looked again at her, wan, pale
As a late winter’s moon

1. Simile
Exact Line: “wan, pale as a late winter’s moon”
Reason: The poet uses a simile to compare her mother’s pale face to a “late winter’s moon.”
This comparison emphasizes the paleness and suggests a sense of fading beauty, akin to the
waning phase of the moon in late winter.
2. Consonance
Exact Line: “Security check, standing a few yards”
Reason: The repeated ‘s’ sound in these words creates consonance, adding a melodic quality
to the stanza. This sound pattern enhances the reflective and somber tone of the poem.
3. Symbolism
Exact Line: “wan, pale as a late winter’s moon”
Reason: The “late winter’s moon” symbolizes decay and the end of a cycle. It mirrors the
mother’s aging process, portraying it as a natural and inevitable part of life’s cycle.
4. Imagery
Exact Line: “wan, pale as a late winter’s moon”
Reason: This line paints a vivid picture of the mother’s appearance, invoking the subdued,
pale light of a winter moon. The imagery underscores the quiet resignation and the sense of
an approaching end.
5. Alliteration
Exact Line: “Security check, standing a few yards”
Reason: The repetition of the ‘s’ sound in “Security” and “standing” creates a soft
alliteration, adding to the stanza’s contemplative tone.
6. Juxtaposition
Exact Lines:
– “But after the airport’s Security check”
– “wan, pale as a late winter’s moon”
Reason: The poet juxtaposes the setting of an airport security check with the still, pale image
of her mother. This contrast emphasizes the difference between the busy activities of life and
the profound realization of her mother’s aging.
7. Enjambment
Exact Lines:
– “But after the airport’s Security check, standing a few yards”
– “Away, I looked again at her, wan, pale”
Reason: The sentence flows over multiple lines without a pause, reflecting the smooth
transition of the narrator’s thoughts and gaze. This enjambment adds to the poem’s
introspective and continuous narrative flow.
Stanza- 4
And felt that old
Familiar ache, my childhood’s fear,
but all I said was, see you soon, Amma,
All I did was smile and smile and smile……

1. Repetition
Exact Line: “All I did was smile and smile and smile……”
Reason: The thrice-repeated word “smile” emphasizes the poet’s continuous effort to
maintain a façade of happiness and reassurance in front of her mother, despite her deep-
seated fears and sadness.
2. Alliteration
Exact Line: “But all I said was, see you soon, Amma,”
Reason: The repetition of the ‘s’ sound in this line creates alliteration, adding a melodic
quality to the words. This alliteration underlines the tenderness and affection in the poet’s
parting words to her mother.
3. Allusion (conditional)
Exact Line: “And felt that old Familiar ache, my childhood’s fear,”
Reason: If “my childhood’s fear” references a specific, universally recognized or previously
mentioned fear, it would constitute an allusion. This would imply a deeper connection to a
broader theme or story, enriching the line’s meaning within that context.
4. Contrast
Exact Lines:
– “Familiar ache, my childhood’s fear,”
– “All I did was smile and smile and smile……”
Reason: There is a stark contrast between the poet’s internal turmoil and her external
expression of smiling. This highlights the dichotomy between one’s true emotions and the
façade presented to the world, especially in protecting loved ones from worry.
5. Ellipsis
Exact Line: “All I did was smile and smile and smile……”
Reason: The use of ellipsis suggests the continuation of the action or emotion, indicating the
ongoing nature of the poet’s efforts to appear cheerful, masking her true feelings.
6. Repetition
– Exact Line: “All I did was smile and smile and smile……”
– Reason: The repeated use of the word “smile” in this line is an example of repetition. It
emphasizes the poet’s persistent effort to maintain a positive front, concealing her true
emotions of concern and sadness about her mother’s aging. This repetition effectively
conveys the depth of the poet’s internal struggle.
7. Juxtaposition
Exact Lines:
– “Familiar ache, my childhood’s fear,”
– “All I did was smile and smile and smile……”
Reason: The juxtaposition of the poet’s internal feelings of fear and her outward action of
smiling underscores the tension between her emotional reality and the façade she presents to
protect her mother.
8. Irony
Exact Line: “All I did was smile and smile and smile……”
Reason: There is a sense of irony in this line. The poet’s repeated smiling, an action typically
associated with happiness, contrasts sharply with her actual feelings of fear and sadness. This
irony highlights the disparity between the outward expression of joy and the internal
experience of emotional pain, underscoring the complex emotions involved in the poet’s
interaction with her mother.
9. Enjambment
Exact Lines:
– “And felt that old Familiar ache, my childhood’s fear,”
– “but all I said was, see you soon, Amma,”
Reason: The flow of the narrative from one line to the next without a syntactical break,
particularly from “Familiar ache, my childhood’s fear,” to “but all I said was, see you soon,
Amma,” exemplifies enjambment. This technique allows the poem to maintain a continuous
and natural rhythm, reflecting the uninterrupted flow of the narrator’s thoughts and emotions.
 Keeping Quiet
-Pablo Neruda
Stanza 1
Now we will count to twelve
and we will all keep still
for once on the face of the earth,
let’s not speak in any language;
let’s stop for a second,
and not move our arms so much.

1. Anaphora
Exact Line: “let’s not speak in any language; / let’s stop for a second,”
Reason: Anaphora is the repetition of a word or phrase at the beginning of successive
clauses. Here, “let’s” is repeated, creating a rhythmic emphasis on the actions proposed by
the speaker.
2. Assonance
Exact Line: “Now we will count to twelve, not move our arms so much.”
Reason: Assonance is the repetition of vowel sounds within close proximity. The prominent
‘o’ sound in this line creates a melodic rhythm, enhancing the poetic quality of the verse.
3. Alliteration
Exact Line: “we will”
Reason: Alliteration is the repetition of initial consonant sounds in nearby words. The
repetition of the ‘w’ sound in “we will” adds a musical element to the line and draws
attention to the collective action.
4. Symbolism
Exact Line: “Now we will count to twelve”
Reason: Symbolism involves using an object or action to represent an idea. Counting to
twelve symbolizes a brief, defined period of time, representing a moment of global stillness
and unity.
5. Metonymy
Exact Line: “let’s not speak in any language;”
Reason: Metonymy is a figure of speech where a thing or concept is referred to by the name
of something closely associated with it. Here, “language” is used to represent different races
and cultures, indicating a global silence transcending cultural differences.
6. Hyperbole
Exact Line: “for once on the face of the earth,”
Reason: Hyperbole is an exaggerated statement not meant to be taken literally. The phrase
“for once on the face of the earth” exaggerates the rarity and global scale of the action being
suggested, emphasizing its significance.
7. Imagery
Exact Line: “and not move our arms so much.”
Reason: Imagery involves using descriptive language to create a vivid picture in the reader’s
mind. This line creates a visual image of physical stillness and rest, underscoring the poem’s
theme of pausing and reflection.

Stanza- 2
It would be an exotic moment
without rush, without engines;
we would all be together
in a sudden strangeness.
Fishermen in the cold sea
would not harm whales
and the man gathering salt
would not look at his hurt hands.

1. Imagery
Exact Lines: “Fishermen in the cold sea / would not harm whales” and “the man gathering
salt / would not look at his hurt hands.”
Reason: Imagery involves using descriptive language to create a vivid picture in the reader’s
mind. These lines create visual images of peaceful coexistence with nature and a break from
labor, underscoring the poem’s theme of pausing and reflection.
2. Juxtaposition
Exact Line: “without rush, without engines”
Reason: Juxtaposition is the placement of contrasting elements close together to highlight
their differences. Here, the absence of “rush” and “engines” is set against the idea of an
“exotic moment,” emphasizing the contrast between modern life’s pace and the tranquility of
stillness.
3. Symbolism
Exact Lines:
“Fishermen in the cold sea / would not harm whales”
“the man gathering salt”
Reason: Symbolism involves using an object or action to represent an idea. The fishermen
and whales symbolize the oppressor and the oppressed, respectively, suggesting a moment of
harmony and non-violence. The man gathering salt represents humanity, emphasizing the
universal nature of the poem’s theme.
4. Alliteration
Exact Lines:
“we would” (repetition of the letter ‘W’)
“sudden strangeness” (repetition of the letter ‘S’)
“his hurt hands” (repetition of the letter ‘H’)
Reason: Alliteration is the repetition of initial consonant sounds in nearby words. These
repetitions add a musical element to the lines and draw attention to the respective phrases.
5. Hyperbole
Exact Line: “It would be an exotic moment”
Reason: Hyperbole is an exaggerated statement not meant to be taken literally. Describing
the moment of global stillness as “exotic” exaggerates its uniqueness and profound impact.

Stanza- 3
Those who prepare green wars,
wars with gas, wars with fire,
victories with no survivors,
would put on clean clothes
and walk about with their brothers
in the shade, doing nothing.
What I want should not be confused
with total inactivity.
Life is what it is about…
I want no truck with death.

1. Alliteration
Exact Lines:
“wars with” (repetition of the letter ‘W’)
“clean clothes” (repetition of the letter ‘C’)
Reason: Alliteration is the repetition of initial consonant sounds in nearby words. These
repetitions add a musical element to the lines and draw attention to the respective phrases.
2. Assonance
Exact Line: “victory with no survivors, would put on clean clothes and walk about with their
brothers.”
Reason: Assonance is the repetition of vowel sounds within close proximity. The prominent
‘o’ sound in these lines creates a melodic rhythm, enhancing the poetic quality of the verse.
3. Repetition
Exact Line: “wars with gas, wars with fire,”
Reason: Repetition involves using the same word or phrase multiple times to emphasize a
concept. The repeated use of “wars” highlights the persistent theme of conflict and its
consequences.
4. Irony
Exact Lines:
“Green wars, wars with gas, wars with fire.”
“victories with no survivors.”
Reason: Irony involves a contrast between expectations and reality. “Green wars” and “wars
with gas, wars with fire” contrast the destructive nature of war with the misleadingly benign
terms. “Victories with no survivors” is ironic because a victory usually implies success, but
here it results in complete loss.
5. Symbolism
Exact Line: “clean clothes”
Reason: Symbolism involves using an object or action to represent an idea. “Clean clothes”
symbolize peace and renewal, suggesting a fresh start away from conflict and violence.
6. Oxymoron
Exact Line: “victories with no survivors,”
Reason: An oxymoron is a figure of speech that combines contradictory terms. This phrase
juxtaposes “victories” with “no survivors,” highlighting the futility and tragedy of war.
7. Paradox
Exact Lines: “What I want should not be confused / with total inactivity. / Life is what it is
about…”
Reason: A paradox is a statement that contradicts itself but reveals a deeper truth. This
phrase suggests that doing nothing, in this context, is not about inactivity but about choosing
life over death, a concept that seems contradictory but is deeply meaningful within the
poem’s theme.
8. Metaphor
Exact Line: “I want no truck with death.”
Reason: A metaphor is a figure of speech that describes an object or action in a way that isn’t
literally true, but helps explain an idea or make a comparison. Here, “truck” is used
metaphorically to mean involvement or dealing. The poet is saying he wants no involvement
with death, emphasizing a preference for life and peace.

Stanza 4
If we were not so single-minded
about keeping our lives moving,
and for once could do nothing, perhaps a huge silence
might interrupt this sadness
of never understanding ourselves
and of threatening ourselves with death.

1. Alliteration
Exact Lines:
– “we were” (repetition of the letter ‘W’)
– “so single-minded” (repetition of the letter ‘S’)
Reason: Alliteration is the repetition of initial consonant sounds in nearby words. These
repetitions add a musical element to the lines and draw attention to the respective phrases.
2. Enjambment
Exact Lines: “and for once could do nothing, perhaps a huge silence / might interrupt this
sadness / of never understanding ourselves / and of threatening ourselves with death.”
Reason: Enjambment is the continuation of a sentence without a pause beyond the end of a
line, couplet, or stanza. This technique creates a sense of flow and continuity, emphasizing
the interconnectedness of the ideas presented.
3. Hypothetical Situation (Conditional Statement)
Exact Lines: “If we were not so single-minded / about keeping our lives moving, / and for
once could do nothing,”
Reason: This conditional statement presents a hypothetical situation, suggesting a different
way of living in contrast to our usual state of constant motion and purpose.
4. Personification
Exact Line: “a huge silence / might interrupt this sadness”
Reason: Personification attributes human characteristics to non-human entities or abstract
concepts. Here, “silence” is given the human ability to “interrupt,” suggesting it has the
power to actively intervene in our emotional state.
5. Hyperbole
Exact Line: “a huge silence”
Reason: Hyperbole is an exaggerated statement not meant to be taken literally. The phrase “a
huge silence” amplifies the extent and impact of silence, suggesting it has a profound and
expansive presence.
6. Imagery
Exact Lines: “might interrupt this sadness / of never understanding ourselves”
Reason: Imagery involves using descriptive language to create a vivid picture in the reader’s
mind. These lines evoke a mental image of an introspective struggle, highlighting our often-
unacknowledged inner turmoil.
7. Metaphor
Exact Line: “threatening ourselves with death.”
Reason: A metaphor describes an object or action in a way that isn’t literally true, but helps
explain an idea or make a comparison. Here, the metaphor suggests that our relentless pace of
life and lack of self-understanding are akin to a threat of death, emphasizing the detrimental
effects of our lifestyle.

Stanza- 5
Perhaps the Earth can teach us
as when everything seems dead
and later proves to be alive.
Now Ill count up to twelve
and you keep quiet and I will go.

1. Personification
Exact Line: “Perhaps the Earth can teach us”
Reason: Personification is attributing human characteristics to non-human entities or abstract
concepts. Here, the Earth is given the human ability to teach, suggesting that it has wisdom to
offer, particularly about cycles of life and renewal.
2. Extended Metaphor
Exact Lines: “as when everything seems dead / and later proves to be alive.”
Reason: An extended metaphor is a comparison that is continued through several lines or
throughout a poem. In these lines, the period of stillness and quiet is compared to winter, a
time when life seems dormant but is actually preparing for renewal. This metaphor extends
the idea of learning from natural cycles to human behavior and consciousness.
3. Imagery
Exact Line: “as when everything seems dead / and later proves to be alive.”
Reason: Imagery involves using descriptive language to create a vivid picture in the reader’s
mind. This line evokes the image of the natural cycle of seasons, symbolizing hope and
rebirth.
4. Contrast
Exact Line: “everything seems dead / and later proves to be alive”
Reason: The stark contrast between what “seems dead” and what “proves to be alive”
highlights the transformative power of nature and the potential for unexpected renewal.
5. Repetition
Exact Lines: “Now I’ll count up to twelve / and you keep quiet and I will go.”
Reason: Repetition is used to reinforce a concept or theme. The repetition of the counting
and the instruction to keep quiet ties back to the poem’s opening, creating a sense of closure
and emphasizing the poem’s central theme of silence and introspection.
 A Thing of Beauty
-John Keats
Stanza 1
A thing of beauty is a joy forever
Its loveliness increases, it will never
Pass into nothingness; but will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
1. Metaphor
– Exact Line: “A thing of beauty is a joy forever”
– Reason: This line directly compares a thing of beauty to a perpetual joy, exemplifying a
metaphor.
2. Hyperbole
– Exact Line: “Its loveliness increases“
– Reason: Hyperbole involves exaggeration to emphasize a point. Here, the exaggeration is
in the phrase “increases,” suggesting that the beauty or loveliness is growing to an
extraordinary, perhaps boundless, degree. This emphasizes the transcendent and ever-
enhancing nature of the subject’s beauty.
3. Assonance
– Exact Line: “Full of sweet dreams, and health, and quiet breathing.“
– Reason: Assonance is demonstrated through the repetition of vowel sounds in close
proximity. Here, the long “e” sound in “sweet” and “dreams,” and the short “e” sound in
“health” and “breathing,” create a harmonious rhythm. This use of assonance adds to the
melodic and soothing quality of the line, enhancing the imagery of tranquility and
contentment.
4. Enjambment
– Exact Line: (Throughout the stanza)
– Reason: The continuation of sentences beyond the end of a line, without a pause, is used
throughout this stanza, creating a flow and connection between the lines.
5. Symbolism
– Exact Line: “a bower quiet for us”
– Reason: The ‘bower’ is used symbolically to represent a place of peace and tranquility,
indicating the mental and emotional refuge provided by beauty.
6. Litotes
– Exact Line: “it will never Pass into nothingness”
– Reason: Litotes is a figure of speech that employs understatement by using double
negatives. In this line, the double negatives ‘never’ and ‘nothingness’ are used to subtly
emphasize the enduring and immortal nature of beauty. This understatement effectively
highlights the concept that beauty is eternal, without directly stating it.
Stanza- 2
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o’er-darkened ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits.
1. Metaphor
– Exact Line: “wreathing a flowery band to bind us to the earth“
– Reason: This metaphorically represents the beautiful aspects of life that bind humans to the
earth and life itself.
2. Anaphora
– Exact Lines: “Of noble natures, of the gloomy days, / Of all the unhealthy and o’er-
darkened ways”
– Reason: The repetition of “Of” at the start of consecutive lines, highlighting the poet’s
emphasis.
3. Alliteration
– Exact Lines: “band to bind” (B), “noble natures” (N), “some shape” (S)
– Reason: The repetition of initial consonant sounds in these phrases adds a rhythmic and
musical quality.
4. Inversion
– Exact Lines: Throughout the stanza.
– Reason: Inversion, or anastrophe, is a literary technique where the normal order of words is
reversed, often for emphasis or to maintain a particular rhythm or rhyme scheme. This stanza
from John Keats’ poem exhibits inversion in several lines, where the usual syntactic order of
words is rearranged, a common feature in poetry to achieve a certain lyrical or rhythmic
effect.
5. Imagery
– Exact Line: “A flowery band to bind us to the earth”
– Reason: This line vividly evokes the sensory aspects of beauty in nature.
6. Enjambment
– Exact Lines: Throughout the stanza.
– Reason: The continuation of sentences without a pause beyond the end of a line, creating a
seamless flow.
7. Personification
– Exact Line: “Some shape of beauty moves away the pall”
– Reason: Beauty is personified as having transformative power.
8. Contrast
– Exact Lines: “Spite of despondence, of the inhuman dearth / Of noble natures, of the
gloomy days,”
– Reason: The stark contrast between despair and the positive influence of beauty.
Stanza- 3
Such the sun, the moon,
Trees old, and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clear rills
That for themselves a cooling covert make
‘Gainst the hot season; the mid forest brake,
1. Imagery
Exact Lines: “Trees old, and young, sprouting a shady boon / For simple sheep; and such are
daffodils / With the green world they live in; and clear rills”
Reason: These lines provide a rich visual description of nature, enhancing the sensory
experience of the poem.
2. Alliteration
Exact Lines: “Sprouting Shady, Simple sheep” (S), “cooling covert” (C)
Reason: The repetition of consonant sounds adds a rhythmic and musical quality to the
stanza.
3. Antithesis
Exact Line: “Trees old, and young,”
Reason: The use of opposing concepts (old and young) to highlight contrasts within the
natural world.
4. Enjambment
Exact Lines: Throughout the stanza.
Reason: The continuation of lines without pause, creating a fluid narrative flow.
5. Personification
Exact Line: “That for themselves a cooling covert make”
Reason: Giving human-like actions to the rills, as they actively create a cooling cover.
6. Metaphor
Exact Line: “sprouting a shady boon For simple sheep”
Reason: ‘Shady boon’ metaphorically describes the shade as a beneficial gift.
7. Synecdoche
Exact Line: “Such the sun, the moon,”
Reason: These celestial bodies represent the larger natural world.
Stanza- 4
Rich with a sprinkling of fair musk-rose blooms;
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
All lovely tales that we have heard or read;
An endless fountain of immortal drink,
Pouring unto us from the heaven’s brink.

1. Imagery
Exact Line: “Rich with a sprinkling of fair musk-rose blooms”
Reason: This line provides a vivid visual description, enhancing the sensory experience of
the poem.
2. Metaphor
Exact Line: “An endless fountain of immortal drink”
Reason: The poet compares elements of nature to an immortal drink, emphasizing the
rejuvenating and perpetual nature of beauty.
3. Alliteration
Exact Line: “have heard”
Reason: The repetition of the ‘h’ sound in ‘have’ and ‘heard’ adds a lyrical quality to the
line.
4 Enjambment
Exact Lines: Throughout the stanza.
Reason: The continuation of sentences without a pause beyond the end of a line, adding to
the fluidity of the poem’s narrative.
5. Hyperbole
Exact Line: “An endless fountain of immortal drink”
Reason: This is an exaggeration used to emphasize the infinite and extraordinary nature of
beauty.
6. Personification
Exact Line: “Pouring unto us from the heaven’s brink.”
Reason: The act of pouring is attributed to an inanimate object (the fountain), giving it
human-like qualities.
7. Symbolism
Exact Lines: “the grandeur of the dooms / We have imagined for the mighty dead”
Reason: The reference to the “mighty dead” symbolizes the idea of legacy and remembrance,
suggesting that beauty lies in the stories and memories of great individuals.
 A Roadside Stand
-Robert Frost
Stanza 1
The little old house was out with a little new shed
In front at the edge of the road where the traffic sped,
A roadside stand that too pathetically pled,
It would not be fair to say for a dole of bread,
But for some of the money, the cash, whose flow supports
The flower of cities from sinking and withering faint.

1.Name of Personification
Exact Line: A roadside stand that too pathetically pled,
Reason: The roadside stand is given human-like qualities, as it is described as “pleading
pathetically.” This personification emphasizes the desperation and helplessness of the stand,
and by extension, the people it represents.
2.Name of Assonance
Exact Line: But for some of the money, the cash, whose flow supports
Reason: The repetition of the vowel sound ‘o’ in this line creates a harmonious sound,
adding a lyrical quality to the poem and emphasizing the concept of monetary flow.
3.Name of Assonance
Exact Line: The flower of cities from sinking and withering faint.
Reason: The ‘i’ sound in “sinking” and “withering” creates assonance, which emphasizes the
decline and fragility of the cities.
4.Name of Alliteration
Exact Line: pathetically pled
Reason: The repetition of the ‘p’ sound in “pathetically pled” draws attention to the
emotional state of the roadside stand, emphasizing its desperate plea.
5.Name of Juxtaposition
Exact Line: The little old house was out with a little new shed
Reason: Here, Frost juxtaposes the ‘little old house’ and ‘little new shed.’ This contrast
highlights the passage of time and change, suggesting a theme of progress or transformation.
6.Name of Imagery
Exact Line: In front at the edge of the road where the traffic sped,
Reason: This line creates a vivid image of the roadside location of the stand, with the
movement and speed of the traffic passing by, evoking a sense of rush and indifference.
Figure of Speech in A Roadside Stand Class 12 Flamingo In-Depth Analysis | Figures of
Language 3

Stanza- 2
The polished traffic passed with a mind ahead,
Or if ever aside a moment, then out of sorts
At having the landscape marred with the artless paint
Of signs that with N turned wrong and S turned wrong
Offered for sale wild berries in wooden quarts,
Or crook-necked golden squash with silver warts,
Or beauty rest in a beautiful mountain scene,

1. Transferred Epithet
Exact Line: The polished traffic passed with a mind ahead,
Reason: The adjective “polished” is a transferred epithet, as it is used to describe the traffic
but actually refers to the rich city dwellers. It implies their sophistication and indifference to
the rural roadside stand.
2. Repetition
Exact Line: Of signs that with N turned wrong and S turned wrong
Reason: The word “wrong” is repeated to emphasize the flawed and imperfect nature of the
signs, highlighting the rustic and unpolished character of the roadside stand.
3. Anaphora
Exact Lines:
– Or crook-necked golden squash with silver warts,
– Or beauty rest in a beautiful mountain scene,
Reason: The repetition of “Or” at the beginning of these lines is an example of anaphora.
This emphasizes the variety of items for sale and the roadside stand’s attempts to attract
attention.
4. Personification
Exact Line: The polished traffic passed with a mind ahead,
Reason: The “polished traffic” is personified as having “a mind ahead,” suggesting its
purposeful, indifferent movement, ignoring the roadside stand.
5. Alliteration
Exact Line: The polished traffic passed with a mind ahead,
Reason: The repetition of the ‘p’ sound in “polished” and “passed” creates a rhythmic
quality, emphasizing the continuous flow of the traffic.
6. Imagery
Exact Line: At having the landscape marred with the artless paint
Reason: This line creates a vivid image of the natural landscape being disrupted by crude,
colorful signs, contrasting nature with man-made elements.
7. Irony
Exact Line: Of signs that with N turned wrong and S turned wrong
Reason: The irony lies in the depiction of signs with letters turned wrong, subtly criticizing
the ignorance or carelessness of the sign-makers, contrasting with the polished traffic.
8. Personification
Exact Line: “Or beauty rest in a beautiful mountain scene,”
Reason: In this line, “beauty rest” can be interpreted as personification, where the abstract
concept of beauty is given the human characteristic of resting. This personification suggests
that beauty itself finds peace or rejuvenation within the natural landscape of a mountain
scene, implying a harmonious and tranquil relationship between beauty and nature. This use
of personification highlights the restorative power of natural beauty.
Stanza- 3
You have the money, but if you want to be mean,
Why keep your money (this crossly) and go along.
The hurt to the scenery wouldn’t be my complaint
So much as the trusting sorrow of what is unsaid:
Here far from the city we make our roadside stand
And ask for some city money to feel in hand
To try if it will not make our being expand,
And give us the life of the moving-pictures’ promise
That the party in power is said to be keeping from us.

1. Repetition
Exact Lines:
You have the money, but if you want to be mean,
Why keep your money (this crossly) and go along.
And ask for some city money to feel in hand
Reason: The word “money” is repeated to emphasize its significance and the economic
disparity between the rural stand owners and the city dwellers. Similarly, the repetition of
“city” highlights the contrast between rural and urban life.
2. Assonance
Exact Line: And give us the life of the moving-pictures’ promise
Reason: The repetition of the ‘i’ sound in this line creates a sense of longing and yearning,
enhancing the emotional impact of the rural people’s desire for a better life.
3. Personification
Exact Line: The hurt to the scenery wouldn’t be my complaint
Reason: The “hurt to the scenery” personifies the natural landscape, suggesting it can feel
pain, highlighting the impact of urbanization and commercialization on nature.
4. Apostrophe
Exact Line: You have the money, but if you want to be mean,
Reason: The speaker directly addresses an absent or imaginary entity, engaging in a one-
sided conversation.
5. Metaphor
Exact Line: And give us the life of the moving-pictures’ promise
Reason: This is a metaphor for the idealized, glamorous life portrayed in movies, contrasting
with the reality of those running the roadside stand.
6. Irony
Exact Line: That the party in power is said to be keeping from us.
Reason: There is irony in the expectation that the political party in power would improve
their lives, juxtaposed with the reality that their promises are unfulfilled.
7. Synecdoche
Exact Line: And ask for some city money to feel in hand
Reason: “City money” represents the wealth and prosperity associated with urban areas,
emphasizing the economic divide.
8. Alliteration
Exact Line: So much as the trusting sorrow of what is unsaid:
Reason: The repetition of the ‘s’ sound creates a soft, sibilant sound that enhances the
melancholic tone.
Stanza- 4
It is in the news that all these pitiful kin
Are to be bought out and mercifully gathered in
To live in villages, next to the theatre and the store,
Where they won’t have to think for themselves anymore,
While greedy good-doers, beneficent beasts of prey,
Swarm over their lives enforcing benefits
That are calculated to soothe them out of their wits,
And by teaching them how to sleep they sleep all day,
Destroy their sleeping at night the ancient way.

1. Alliteration
Exact Lines:
Greedy good-doers
Beneficent beasts
Be bought
Reason: The repetition of the ‘g’, ‘b’, and another ‘b’ sounds create a rhythmic and harsh
tone, emphasizing the predatory nature of the so-called benefactors and the forceful nature of
the relocation.
2. Oxymoron
Exact Line: greedy good-doers
Reason: This phrase combines contradictory terms: “greedy” and “good-doers,” highlighting
the duplicitous nature of those who pretend to help while pursuing their own interests.
3. Repetition
Exact Line: And by teaching them how to sleep they sleep all day, Destroy their sleeping at
night the ancient way.
Reason: The repetition of “sleep” emphasizes the loss of traditional ways of life and the
forced imposition of new lifestyles that disrupt natural patterns.
4. Irony
Exact Line: Are to be bought out and mercifully gathered in
Reason: The use of “mercifully” is ironic, as it suggests kindness in an action that is actually
forced and possibly unwanted.
5. Personification
Exact Line: While greedy good-doers, beneficent beasts of prey,
Reason: This personifies entities who pretend to do good but are actually exploiting the rural
people.
6. Hyperbole
Exact Line: That are calculated to soothe them out of their wits,
Reason: This exaggeration suggests that the so-called benefits are overwhelming and
disorienting.
7. Metaphor
Exact Line: Swarm over their lives enforcing benefits
Reason: This metaphorically describes the overwhelming and intrusive way the rural people
are being treated.
8. Juxtaposition
Exact Lines:
To live in villages, next to the theatre and the store,
Where they won’t have to think for themselves anymore,
Reason: This juxtaposes the idea of living near modern conveniences with the loss of
autonomy.
Stanza- 5
Sometimes I feel myself I can hardly bear
The thought of so much childish longing in vain,
The sadness that lurks near the open window there,
That waits all day in almost open prayer
For the squeal of brakes, the sound of a stopping car,
Of all the thousand selfish cars that pass,
Just one to inquire what a farmer’s prices are.
And one did stop, but only to plow up grass
In using the yard to back and turn around;
And another to ask the way to where it was bound;

1. Transferred Epithet
Exact Line: Of all the thousand selfish cars that pass,
Reason: “Selfish cars” is a transferred epithet where the selfishness attributed to the cars
actually reflects the attitudes of the city-dwellers driving them, emphasizing their indifference
to the roadside stand.
2. Personification
Exact Line: The sadness that lurks near the open window there,
Reason: Sadness is personified as something that can lurk, giving it a tangible, almost human
presence that emphasizes the depth of despair felt by the speaker.
3. Hyperbole
Exact Line: Of all the thousand selfish cars that pass,
Reason: This exaggeration emphasizes the sheer number of cars that pass without stopping,
highlighting their indifference.
4. Metaphor
Exact Line: That waits all day in almost open prayer
Reason: Comparing the wait to “open prayer” suggests a deep longing and hope for
something, reflecting the stand’s desperate hope for customers.
5. Alliteration
Exact Line: For the squeal of brakes, the sound of a stopping car,
Reason: The repetition of the ‘s’ sound creates a sibilant effect, enhancing the auditory
imagery.
6. Irony
Exact Lines:
And one did stop, but only to plow up grass
In using the yard to back and turn around;
Reason: The irony lies in a car stopping not to help or buy but to use the yard for its own
purpose.
7. Oxymoron
Exact Line: childish longing in vain,
Reason: Combining “childish” (associated with innocence and hope) with “in vain”
(suggesting futility) reflects the naive yet futile hope of the stand owner.
8. Imagery
Exact Line: For the squeal of brakes, the sound of a stopping car,
Reason: This line creates vivid auditory imagery, making the reader almost hear the sounds
of a car stopping.
Stanza- 6
And another to ask could they sell it a gallon of gas
They couldn’t (this crossly); they had none, didn’t it see?
1. Alliteration
Exact Line: could they sell it a gallon of gas
Reason: The repetition of the ‘g’ sound in “gallon of gas” creates a rhythmic effect, drawing
attention to the specific request made by the passerby.
2. Irony
Exact Line: They couldn’t (this crossly); they had none, didn’t it see?
Reason: There is irony in the expectation of the passerby that the roadside stand would sell
gas, contrasted with the reality that they don’t have any. This reflects the ignorance or
misunderstanding of the stand’s purpose by those passing by.
3. Rhetorical Question
Exact Line: They had none, didn’t it see?
Reason: The question “didn’t it see?” is rhetorical and expresses frustration. It’s not meant to
elicit an answer but to highlight the obliviousness of the passerby.
4. Parenthesis
Exact Line: They couldn’t (this crossly);
Reason: The use of parentheses around “this crossly” indicates an aside or an under-the-
breath comment, conveying the irritation or bitterness of the speaker.
Stanza- 7
No, in country money, the country scale of gain,
The requisite lift of spirit has never been found,
Or so the voice of the country seems to complain,
I can’t help owning the great relief it would be
To put these people at one stroke out of their pain.
And then next day as I come back into the sane,
I wonder how I should like you to come to me
And offer to put me gently out of my pain.

1. Personification
Exact Line: Or so the voice of the country seems to complain,
Reason: The “voice of the country” is personified, suggesting the country itself can express a
complaint, emphasizing the collective rural struggle.
2. Repetition
Exact Words: “country” and “pain”
Reason: The repetition of “country” emphasizes the rural setting and contrasts with urban
life, while “pain” highlights ongoing suffering and desire for relief.
3. Irony
Exact Lines:
-To put these people at one stroke out of their pain.
-And offer to put me gently out of my pain.
Reason: The desire for a quick, merciful release from pain is ironic, reflecting the depth of
suffering and longing for an end to it.
4. Metaphor
Exact Line: The requisite lift of spirit has never been found,
Reason: “Lift of spirit” metaphorically refers to hope or improvement, suggesting its
elusiveness for the people in the country.
5. Hyperbole
Exact Line: I can’t help owning the great relief it would be
Reason: This exaggeration emphasizes the intense desire for a resolution to the suffering.
6. Juxtaposition
Exact Line: And then next day as I come back into the sane,
Reason: Juxtaposes harsh reality with fleeting moments of respite or clarity.
7. Alliteration
Exact Line: The requisite lift of spirit has never been found,
Reason: The repetition of the ‘s’ sound adds a soft, sibilant quality to the line, enhancing its
lyrical nature.
 Aunt Jennifer’s Tigers
-Adrienne Rich
Stanza 1
Aunt Jennifer’s tigers prance across a screen,
Bright topaz denizens of a world of green.
They do not fear the men beneath the tree;
They pace in sleek chivalric certainty.
1. Imagery
Exact Line: “Bright topaz denizens of a world of green”
Reason: This line creates a vivid visual image in the reader’s mind, portraying the tigers as
radiant and lively, embodying energy and vibrance.
2. Metaphor
Exact Line: “Bright topaz denizens”
Reason: The term “bright topaz” is used metaphorically to describe the vibrant yellow color
of the tigers, enhancing the vividness of their depiction.
3. Alliteration
Exact Line: “sleek chivalric certainty”
Reason: The repetition of the ‘c’ sound in “chivalric certainty” provides a rhythmic quality to
the line, enhancing its poetic nature.
4. Consonance
Exact Line: “Jennifer’s tigers prance across a screen”
Reason: The repetition of the ‘s’ sound in this line creates a smooth, flowing sound, adding
to the musicality of the verse.
5. Assonance
Exact Line: “They do not fear the men beneath the tree”
Reason: The prominent sound of the vowel ‘e’ in this line adds a harmonious and rhythmic
quality, enhancing the lyrical flow.
6. Anaphora
Exact Lines:
– “They do not fear the men beneath the tree;”
– “They pace in sleek chivalric certainty.”
Reason: The repetition of the word “They” at the start of these consecutive lines emphasizes
the actions and qualities of the tigers, contributing to the poem’s thematic unity and rhythm.
7. Personification
Exact Line: “They do not fear the men beneath the tree”
Reason: The tigers are given human-like qualities, notably the absence of fear. This
personification emphasizes their perceived bravery and independence.
8. Symbolism
Exact Line: “Bright topaz denizens of a world of green”
Reason: The tigers are symbolized as “bright topaz denizens,” indicating not only their color
but also their value and rarity. The “world of green” symbolizes a natural, unbounded space,
contrasting with Aunt Jennifer’s constrained existence.
9. Metonymy
Exact Line: “men beneath the tree”
Reason: This phrase likely represents patriarchal society and its oppressive structures. The
“men” are not specific individuals but a broader representation of societal norms and
constraints.
10. Oxymoron
Exact Line: “sleek chivalric certainty”
Reason: “Sleek” and “chivalric” are somewhat contrasting terms; “sleek” suggests
smoothness and modernity, while “chivalric” refers to the old-fashioned, gallant behavior of
knights, combining to convey a complex image of the tigers.
tanza- 2
Aunt Jennifer’s fingers fluttering through her wool
Find even the ivory needle hard to pull.
The massive weight of Uncle’s wedding band
Sits heavily upon Aunt Jennifer’s hand.

1. Alliteration
Exact Line: “fluttering fingers” and “Aunt Jennifer’s fingers fluttering through her wool”
Reason: The repetition of the ‘f’ sound creates a rhythmic and flowing sound, emphasizing
the movement of her fingers and adding a musical quality to the verse.
2. Personification
Exact Line: “Sits heavily upon Aunt Jennifer’s hand”
Reason: The wedding band is personified as it ‘sits heavily,’ suggesting an active, oppressive
presence in her life.
3. Hyperbole
Exact Line: “The massive weight of Uncle’s wedding band”
Reason: The description of the wedding band’s weight as ‘massive’ is an exaggeration,
emphasizing the psychological and emotional burden it represents.
4. Imagery
Exact Line: “fingers fluttering through her wool”
Reason: This line creates a vivid sensory image of delicate, precise movements involved in
needlework. The use of “fluttering” evokes a visual of gentle and skillful motion, enabling
the reader to almost see and feel the action of fingers working with the wool. This imagery
enhances the tactile and visual experience, bringing the scene to life in the reader’s mind.
5. Enjambment
Exact Lines:
– “Aunt Jennifer’s fingers fluttering through her wool / Find even the ivory needle hard to
pull.”
– “The massive weight of Uncle’s wedding band / Sits heavily upon Aunt Jennifer’s hand.”
– Reason: The continuation of sentences across lines without punctuational pauses creates a
sense of flow and continuity, mirroring the ongoing nature of Aunt Jennifer’s struggles.
6. Imagery
– Exact Line: “Find even the ivory needle hard to pull”
– Reason: This line vividly depicts the struggle Aunt Jennifer faces, not just in her craft but
as a metaphor for her life’s challenges.
7. Symbolism
– Exact Line: “The massive weight of Uncle’s wedding band”
– Reason: The wedding band symbolizes the oppressive nature of Aunt Jennifer’s marriage
and the patriarchal constraints she experiences.
8. Metaphor
– Exact Line: “massive weight of Uncle’s wedding band”
– Reason: The ‘massive weight’ is a metaphor for the emotional and psychological burden
Aunt Jennifer bears in her marriage.
Stanza- 3
When Aunt is dead, her terrified hands will lie
Still ringed with ordeals she was mastered by.
The tigers in the panel that she made
Will go on prancing, proud and unafraid

1. Alliteration
– Exact Line: “prancing proud”
– Reason: The repetition of the ‘p’ sound emphasizes the liveliness and confidence of the
tigers.
2. Enjambment
– Exact Lines:
– “When Aunt is dead, her terrified hands will lie / Still ringed with ordeals she was mastered
by.”
– “The tigers in the panel that she made / Will go on prancing, proud and unafraid.”
– Reason: The continuation of sentences across lines without punctuational pauses enhances
the flow and links the ideas seamlessly.
3. Imagery
– Exact Line: “The tigers in the panel that she made / Will go on prancing, proud and
unafraid.”
– Reason: This line creates a vivid visual image of the tigers, symbolizing freedom and
fearlessness.
4. Contrast
– Exact Lines:
– “When Aunt is dead, her terrified hands will lie”
– “The tigers in the panel that she made / Will go on prancing, proud and unafraid.”
– Reason: The stark contrast between Aunt Jennifer’s fate and the vitality of the tigers
highlights the disparity between her reality and her artistic expression.
5. Paradox
– Exact Line: “The tigers in the panel that she made”
– Reason: The paradox lies in the fact that Aunt Jennifer, who lived a constrained life, was
able to create art that symbolized freedom and fearlessness.
6. Transferred Epithet
– Exact Line: “her terrified hands will lie”
– Reason: The adjective ‘terrified’ is transferred from Aunt Jennifer to her hands, indicating
her state of fear, even in death.
Note- The line “her terrified hands will lie” can be interpreted as an example of both a
transferred epithet and synecdoche.
As a transferred epithet, the adjective ‘terrified’ is indeed transferred from Aunt Jennifer to
her hands, suggesting her state of fear.
As synecdoche, it uses a part (her hands) to represent the whole (Aunt Jennifer), indicating
her overall state of fear or distress.
Both interpretations are valid, and they complement each other in conveying the poem’s
deeper meaning about Aunt Jennifer’s emotional state.
7. Synecdoche
– Exact Line: “her terrified hands”
– Reason: The reference to Aunt Jennifer’s ‘hands’ symbolically represents her entire being,
suggesting her overall state of terror.
8. Assonance
– Exact Lines:
– “Aunt is dead, her terrified hands will lie.”
– “go on prancing, proud and unafraid.”
– “ringed with ordeals she was mastered by.”
– Reason: The prominent vowel sounds ‘i,’ ‘o,’ and ‘e’ create a harmonious effect and add to
the poem’s musical quality.
 Prose-1

The Last Lesson

As quiet as Sunday morning - Simile

As fast as I could-simile

Up and down - Antithesis

Terrible iron ruler - Transferred Epithet

School seemed so strange - Sibilance & Metonymy

Thunderclap - Metaphor

Wretches-Metaphor

Old friends - Metaphor

And, without one mistake? - Rhetorical question

Alsace, she puts off - Personification

Onomatopoeia:

Bah

Cooed

Ah

You are not the worst - Litotes

Language is the key – Metaphor

Almost as if the poor - Simile

So easy, so easy – Repetition

Put it all into our heads - Synecdoche

Like little flags - Simile

Fish-hooks, as if that was French - Simile

School is dismissed - Synecdoche

Will they make them sing in German, even the pigeons? - Rhetorical Question

Prose -2

Lost spring

Lost spring - Metaphor

Many storms that swept- Metaphor Gold in garbage dumps - Hyperbole

Promises like mine - Simile

His bleak world - Transferred Epithet

Many storms that swept- Metaphor

Gold in garbage dumps - Hyperbole

Promises like mine - Simile

His bleak world - Transferred Epithet

Lord of the universe - Irony

An army of barefoot boys - Metaphor

Garbage to them is gold - Hyperbole

Like the morning birds - Simile

Air of desolation - Metaphor

Young boys like the son of the priest... remain shoeless. - Antithesis

Like the son of the priest - Simile

Like the rag-pickers - Simile

Seemapuri, a place on the periphery of Delhi yet miles away from it - Antithesis

Transit homes - Transferred Epithet

Rag-picking has acquired... of fine art. - Hyperbole

Garbage is their daily bread, a roof over their heads - Metaphor

Even shoes with a hole is a dream - Metaphor

Like a mirage - Simile

Can a god-given lineage even be broken? - Rhetorical Question

Like the tongs - Simile

Suhaag-Symbolism

Their fathers are as hard as they are - Simile

The baggage of the child - Metaphor

Few airplanes fly over Firozabad - Pun

Choked with garbage - Personification

Sizzling spinach leaves - Onomatopoeia

Bangles- sunny gold... lie in mounds in unkempt yards - Irony

Circle of bangles - Symbolism & Paradox

Like the old woman - Simile

She still has bangles on wrist, but no light in her eyes - Irony

They talk endlessly - Paradox

Web of poverty - Metaphor

Few airplanes fly over Firozabad - Pun

Prose-3

Deep Water

Simile:

Nine feet were like ninety

Like a cork

I reached up as if to grab a rope

As dead weights

As in one nightmare fights

Like a great charge of electricity

Tender arms like Mother's

I went down, down, endlessly - Repetition, hyperbole

Yellow glow dark - Antithesis

Personification:

The water heard me

Stark terror seized me

Water held me

Terror that knows no understanding

Terror that knows no control

Blackness wiped out fear and terror

Icy terror would grab my heart

Haunting fear of the water followed me

Bit of the panic seized me

Deep water - Metaphor

To float along in space – Metaphor

Back and forth - Antithesis

Shrieking-Onomatopoeia

Stiff, rigid - Tautology

To float along in space - Metaphor

Bottomless water - Hyperbole

Held me firmly in its grip -Personification

Climb the peaks - Metaphor

And then, strangely, there was light. I was coming out of the awful yellow water - Visual
Imagery

He held on to the end of the rope, hour after hour, day after day, week after week. - Climax

The instructor was finished. But I was not finished. - Antithesis

"Trying to scare me, eh? Well, here's to you!" - Apostrophe

Mr. Terror- Personification

As Doug Corpron – Simile

Gilbert Peak returned the echo – Personification

All we have to fear is fear itself - Paradox

Prose-4

The Rattrap

Rattrap - Metaphor

Riches, food, shelter.....exactly as the rattrap - Simile

To keep body and soul together - Euphemism As the rattrap - Simile

The bait - Metaphor

The world had never been kind to him - Metonymy

Confidence as with his porridge and tobacco - Simile

Like an impenetrable prison - Simile

He walked and walked - Repetition

He wore nothing but a long shirt - Antithesis

Like an old regimental comrade – Simile

Would be like throwing himself - Simile

As inconspicuously as possible - Simile

As freely as you came - Simile

Uncertain reflection from the furnace - Transferred epithet

He walks and walks - Repetition

Time after time - Repetition

Window frame as a bait for poor wanderers - Simile

Christmas present from a rat......in this world's rattrap - Metaphor

The stranger said no, and no, and again no - Repetition

Why had she done it? What could the crazy idea be? - Rhetorical Question

Money pouch as a bait - Simile

As if I was a real captain – Simile

Onomatopoeia:

Thump

Groan

Crack

Roar

Mumble

Prose -5

Indigo

Like any other peasant - Simile

Professor to harbour a man like me - Simile

Free from fear - Alliteration

The chief commercial crop - Alliteration

As a poor yeoman - Simile

Related titles

Mountain of evidence – Metaphor

 Prose -6

Poets and pancakes

Gemini studios bought in truck loads - Hyperbole

Gemini studios believed to have been Robert Clive's stables - Irony

Makeup men can turn decent looking person into hideous crimson hued monster - Irony

Look ugly in order to look presentable in movie - Paradox

It could save me from his epics - Metaphor

Flop film - Alliteration

The rats fights the tigress....tends them lovingly - Paradox

Like a coat of mail - Simile

Like so many of those - Simile

Lawyer lost his job because the poets were asked to go home - Paradox

Buzzed-Onomatopoeia

What are we doing? - Rhetorical question

What is an English poet...simplest sort of people? - Rhetorical question

Patient, persistent, persevering - Alliteration

I felt like I had - Simile

Long lost brother - Alliteration & Metaphor

A dark chamber of my mind - Metaphor

Hazy illumination - Oxymoron

Prose -7

The Interview

Just as much of a crime as an offence - Simile

Like thumbprints on his windpipe - Simile

Aah-Onomatopoeia

As big as my fist - Simile

Elevator to come up from first to third floor, I have already written an article - Hyperbole

It's a detective yarn at one level - Metaphor

People like trash – Metaphor

Tell stories like a Chinese wise man – Simile

Prose -8

Going places

I'll be like Mary quant - Simile

Going places - Irony

Something a bit sophisticated - Sibilance

Huh-Onomatopoeia

If ever I come into money - Repetition

Blessed decent house - Transferred epithet

His mouth as hard as he could go - Simile

She thinks money grows on trees, don't she? - Rhetorical question & Metaphor

Delicate-seeming....crooked - Antithesis

He was three years out....far side of the city - Asyndeton

She suspected areas of his life - Metaphor

Had to be prized out – Metaphor

Like stones out of ground - Simile

Speaking it as though - Simile

Districts of the city - Antithesis

Whether they were only ....surrounding country who knew? - Rhetorical question
She was conscious of a vast world out there waiting for her - Personification

She would feel as at home - Simile

It expectantly awaited her arrival - Personification & Repetition

There was a sound of applause...to greet them - Imagery & Personification

Asthough it were a small dumb animal - Simile

And I looked around and who should it be but Danny - Polysyndeton

Oh-Onomatopoeia

Gentle eyes - Transferred Epithet

So tall as you'd think - Simile

Their father had washed. and his face...and arms - Polysyndeton

Father said reverently to the television – Personification

Better than that even - Simile

Young yet - Alliteration

Older than I am - Simile

This another of your wild stories? - Rhetorical Question & Metaphor

Load of trouble - Metaphor

The table lamp...and across..and the team...and the row - Polysyndeton

Promise you'll tell no one? - Rhetorical question

Strings of girls - Metaphor

As if anyone would tell a girl - Simile

As quiet as all - Simile

Nothing like that - Simile

Like when they interviewed - Simile

Paper or pen - Alliteration

Shiny and shapeless – Alliteration

SR 1. The Third Level

It was a waking dream - Metaphor

Well, who doesn't - Rhetorical Question

In and out - Antithesis

Like a tree -Simile

Trees whose branches meet overhead- Personification

Like roots- Simile

I didn't pass a soul - Synecdoche

Have you ever been there? Rhetorical Question

SR 2. Tiger king

Even the threat of a stuka bomber - Hyperbole

The stuka, if it likes - Personification

Ten day infant who had enunciated the words - Hyperbole

Rather like the bulletins issued by the war office, than facts - Simile

The bull and the tiger- Personification

It seemed easier to find tiger's milk than a live tiger. Simile & Hyperbole

Khader Mian Saheb or Virasami Naicker, both famed for their ability to swallow sheep

whole. -Hyperbole

Then our state too will fall a prey to national congress - Metaphor

Tiger launched its satyagraha - Personification

Rolling his eye in bafflement - Personification

Conversation between the king and the dewan - Humour

During the day and the same dream at night - Antithesis

The tiger farms - Oxymoron

Hundredth tiger took its final revenge upon tiger king - Personification

Satire:

Jung Jung bahadur M.A.D

English cow English nanny

The Maharaja was happy that though he had lost three lakh of rupees, he had managed

To retain his kingdom.

Double the land tax

The Maharaja's anxiety reached a fever pitch... his tally of a hundred - Paradox

Irony:

The operation was successful. The Maharaja is dead. In this manner the hundredth tiger took
its final revenge upon the Tiger King.

SR 3. The Journey to the end of the earth

Flora and fauna - Alliteration

South Indian like myself - Simile

Gondwana thrived - Personification

It's like walking into a giant ping pong - Simile

Icebergs as big as countries – Simile

Days go on and on - Repetition

Barely a few seconds on geographical clock - Metaphor

Over Nature - Personification

Villages, towns, cities, megacities - Climax

Maybe. Maybe not - Antithesis

Antarctica is a crucial element - Metaphor

Antarctica, because of her simple-Personification

The day had managed Personification

Whiteness seemed to spread out forever - Hyperbole

Living, breathing, saltwater - Transferred Epithet

Like stray dogs - Simile

Nine time zones, six checkpoints...many ecospheres - Refrain

How would it be if .... used to be?? - Rhetorical Question

Will we be around... rhinos? Who's to say? Rhetorical Question

SR 4. The Enemy

Simile:

Like a fowl

As the old man was.

Liking the man better now that he was no longer a child.

Lay like dead

Like flickers of rumour

Man like that could be so cruel to a woman

Cruel to one like this for instance?

Knowledge of body as if you had made it

Turned as swiftly as though

As careful as ever

Try it twice as long

Get back your strength as quickly as possible.

Terror as unmistakable as an animal's

Absolute state such as Japan was

Metaphor:
They are the stepping Stones to the future for Japan.

The mists screened them now

It is only feathers and skeleton

He was her enemy

They came like flickers of rumour

Ignorance of the human body is the surgeon's cardinal sin

Anything less than that is murder

Sweeping the bright green carpet constantly

Marred the velvet its surface

The flicker of terror

The atmosphere of his mind

The General was in the palm of his hands.

South Seas - Sibilance

He had been sent to America to learn – Irony

Clouds were rising from the ocean - Imagery Then come creeping up the beach -
Personification

Fling up out of the ocean flung- Repetition

Expert fingers - Transferred Epithet

Flowed freshly - Alliteration

Oh- Onomatopoeia

Trained hands - Transferred Epithet

Trained hands seemed of their own will to be doing - Personification.

Fearful bleeding - Transferred Epithet

The kindest thing would be to put him back into the sea - Irony

Unconscious face moved him - Transferred Epithet

Sleeping face - Transferred Epithet

Living or dead - Antithesis

But the children...and she...and moment and smile... play - Polysyndeton

Wounded him with her rocks - Personification

They will take revenge on us - Personification

Could it ever be well to help an enemy? - Rhetorical Question

You understand we only want....over as a prisoner? - Rhetorical Question

Is this anything but a man? - Rhetorical Question

Cool interest - Oxymoron

Exploring instrument - Transferred epithet

Remembered such men as GeneralTakima, who at home....Manchuria - Irony

Would he not be cruel to one like this for instance? - Rhetorical Question

He felt only the purest pleasure - Irony

Purest pleasure - Alliteration

Familiar with every atom of this human body - Hyperbole

Cardinal sin - Biblical Allusion

My friend, he always called...that this was his enemy - Irony

Hush - Onomatopoeia

Do you want to die? - Rhetorical Question

Gently and strongly - Antithesis

Bitter line - Transferred Epithet

What will be their fate...as a traitor? - Rhetorical question

Flicker - Repetition

What were they? - Rhetorical Question

Southern sunshine - Sibilance

Suppose you were condemned....to have my operation? - Rhetorical Question

The operation successful even if I died - Paradox

How else could rulers deal with those who opposed them? Rhetorical Question

Gosh - Onomatopoeia

Big thin - Oxymoron

Time and time - Repetition

Rustling - Onomatopoeia

Peaceful breathing of sleep - Personification

Whistling partitions - Transferred Epithet & Onomatopoeia

Dripping – Onomatopoeia

Running springs - Transferred Epithet

His terror infected - Personification Breathless - Hyperbole

Find, fresh, fish - Alliteration

Well, well - Repetition

I thought nothing but myself - Antithesis

Zeal against the enemy - Enthusiasm Insistent on mercy with the knife - Paradox

Miserable home - Transferred Epithet

She was no less repulsive to him in her kindness – Antithesis

Why I could not kill him? - Rhetorical Question

SR:6 On the face of it

Simile:

A day like this

Now it's like this

Like this crab apple

Like my face

As old as you

Now it's like this

Like this crab apple

Like my face

As old as you

As much as anywhere

Worse off than you

Like a bomb

Like weren't like them

I'd like a place like this

Like a garden

You're like the others

Ugly as a devil

Metaphor:

Windfalls in the long grass

That's magic fruit

You're a daft

I am a devil

Rustling - Onomatopoeia

Mind the apples – Repetition

You're a daft

I am a devil
Rustling - Onomatopoeia

Mind the apples - Repetition

What are you afraid of boy? - Rhetorical question

Empty...an empty - Repetition

Welcome - Repetition

No, no Repetition

It ate my face up - Personification

It ate me up - Personification

There's nothing good made that doesn't interest me - Litotes

Look - Repetition

A weed garden - Oxymoron, inversion

There's fruit and there are flowers and trees and herbs - Polysyndeton

Green growing – Alliteration

Why is one green growing- plant called a weed and another called flower? - Rhetorical

Question

I am old, you're young - Antithesis

You've got a burned face, I 've got a tin leg - Antithesis

You're standing there... I'm sitting - Antithesis

Some do, some don't - Antithesis

Crab apples or the weeds or a spider climbing - Polysyndeton

Beauty and the beast - Antithesis, Alliteration

Handsome - Repetition

Only my mother, and..and I don't like my mother-in-law - Polysyndeton

Ah - Onomatopoeia
Girls - Repetition

You will.But the world won't-Antithesis

The world's got a whole face - Personification

Tin doesn't hurt - Personification

Now and then - Antithesis

Wet weather - Alliteration

Look at all... in pain and brave and and never cry and never complain - Polysyndeton

Never – Repetition

Think, you might...or born deaf or have.. or be daft - Polysyndeton

Bus stop and she looked... and she looked - Polysyndeton

So you believe everything you hear,so? - Rhetorical question

Heard - Repetition

Peculiar - Repetition

Bees behind - Alliteration

Buzz - Onomatopoeia

Humm - Onomatopoeia

I hear them singing bees - Irony, Personification

I like it here - Refrain

A bus might run, or a donkey.. or lightning might strike - Polysyndeton

People who saw him would laugh their heads off - Hyperbole, Synecdoche

You still say peculiar things - Refrain

Empty house, but inside, it's full - Antithesis

Shutting things out, shutting things in - Antithesis

Light and darkness - Antithesis

Not altogether - Rhetorical question

Doesn't mean they're enemies - Litotes

Nothing – Repetition

Never just nothing - Litotes

What kind of a world would that be? - Rhetorical Question

So you think you're Burned face? - Rhetorical Question

Everything's different. Everything is same - Antithesis

Watching, Listening, Thinking - Climax

The gates always open-minded - Repetition

They might, might not - Repetition & Antithesis

Why should they be? - Rhetorical Question

If you fell and... grass and die - Polysyndeton

It's three miles home - Repetition

You don't know-how - Repetition

I want - Repetition

Some do, some don't - Antithesis

Alive or dead - Antithesis

You're here all yourself and miserable and..and nobody cares - Polysyndeton

And you've got burned face and that's other people - Polysyndeton

You're frightened of it and if you're not frightened- Antithesis

Don't you?- Rhetorical question

I'm going. But I'll come back - Antithesis

There my dears, That's you seen to- Soliloquy

I haven't heard things?-Rhetorical question

An old man with a tin leg and,he.. and has a garden-Polysyndeton

And I want, and sit and...listen- Polysyndeton

Bees singing- Personification

It's want..and find out and hear- Polysyndeton

I want- refrain

Swiches. Onomatopoeia

Swishes- Onomatopoeia

Creaks- Onomatopoeia

You see- Repetition

He stops dead- Hyperbole

It's all right - Refrain

SR:8 Memories of Childhood

1.The Cutting Of My Long Hair

Land of apples- metonymy

It's loud metallic voice- Personification

Clatter- Onomatopoeia

Voices murmuring- Personification

Unknown tongue- Metonymy

Immodestly dressed than I - Simile

Looking as uncomfortable - Simile

Long chain of tables- Metaphor

Everyone picked up his knife and fork and began eating- Polysyndeton

Eating by formula- metaphor

Squeaking shoes- Onomatopoeia

Crept up the stairs as quietly as I could- simile

Nearer- Repetition

I held my breath and watched them... and peep behind large trucks- Polysyndeton

Cold blades- Pun and transferred epithet

Air like a wooden puppet- Simile

Shingled like a coward's- Simile

Not a soul respond- Synecdoche

As my own mother- Simile

One of many animals driven by a herder- Metaphor

2.We Too Are Human Beings

It would take... all the fun and novelties and oddities... shops and bazaar- Polysyndeton

Time- Repetition

Pedalling as hard as he cold- Simile

The dried fish stall by the statue of Gandhi- Irony

The street light always demonstrating - personification

Oh- Onomatopoeia

The dried fish stall, narikkuravan huntergypsy selling needles...instruments for cleaning

ears- Visual Imagery

No magic, no miracle- Metaphor

Then there might be a street play, or a puppet show, or a magic- Polysyndeton

All these sights taken together would tether my legs- Personification

There would be... palm-syrup and palm fruit, guavas and Jack fruit- Polysyndeton

Every day.... Selling sweet and savoury... tamarind seeds and iced lollies-Polysyndeton

Round- Repetition
Mango, cucumber, sugercane, sweet potato- Gustatory imagery

Shriek- Onomatopoeia

Every day Selling sweet and savoury... tamarind seeds and iced lollies-Polysyndeton

Round- Repetition

Mango, cucumber, sugercane, sweet potato- Gustatory imagery

Shriek- Onomatopoeia

A big man carrying a small packet- Antithesis

I fell about with laughter- Hyperbole

Such an important fetch snacks and hands.. and shrinking... and stuffs- Polysyndeton

How was it that these fellows thought so much of themselves- Rhetorical question

Too are human beings- Refrain

Honour or dignity or respect- Polysyndeton

So study with care, learn all you can- Asyndeton

The words that Annan spoke to me that day made... people became my friends- Climax

With all my breath and being- Synecdoche