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A Dictionary of Literary Devices: Gradus, A-Z

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The "Gradus" was once the preferred method of language and art instruction. It consisted of copius examples that the student transferred verbatim into a copybook, and then analysed under the supervision of a tutor. The compiler of this book succeeds in this challenge using a comprehensive, though at times frustrating format. Every device (there are about 550 listed, though 2,000 are identified in the index) begins with a short definition, sometimes followed with synonyms and antonyms, other times with obscure references to other books. Next are several examples, many drawn from contemporary literature, television and film, followed by a number of remarks. Personally, I find the book inconsistent in places. Where it shines is in its analysis of the more "common" techniques (for example the discussion on intonation, irony, narrative, question, reasoning, etc.). The examples are excellent, the commentary and remarks explore these techniques in depth. BUT, if you are searching for insight on some of the less common or outright rare and never used techniques; in fact, where you might find this book useful, it sometime lets the reader down, and yet at other times excels. Often you are referred to the OED, or works on rhetoric, linguistics, etc. Sometimes the examples are simply citations of other works (for example, "see Lucky's speech in Waiting for Godot") and in other cases they are quite unique. Consider for example the entry under "EPANADIPLOSIS" - the useful definition is "The ending of the second of two corrrelative clauses with the word or words that began the first. See Dumarsais (4:139), Scaliger (4:30), Lausberg, and Morier." --- Well, I don't have access to these tomes, not likely to either. I need to rely on the examples. Two are given, both very interesting. The first is from Malcolm X, "You bleed when the white man says bleed. You bite when the white man says bite, and you bark when the white man says bark." The second is Robert Frost "Possessing what we are still possessed by, Possessed by what we now no more possessed." O.K., this technique appears to have promise. But we find in the remarks that "the desired effect is emphasis, hackneyed and hyperbolic repetition ... where many of the examples seem to occur by chance." I don't see the element of chance in either example. The technique, in my opinion, is considerably more dramatic, almost hypnotic. The emphasis follows on the next passage. This is a book of forms, and forms are the basis for literary development. ON balance, the author succeeds by creating a useful GRADUS, a sourcebook for the exploration of forms. This is an excellent book. Unique in comparison to other "competitive" books and texts on rhetoric. Its fun, full of insights and the best book on the subject currently available.