Synecdoche

The “eyes” (55) and “arms” (62) that Prufrock claims to “have known” are synecdoches for women; since he does not say he is familiar with their hearts, which would metaphorically imply experience with their love, Prufrock only knows women physically. He gives one explanation for this by noting the “perfume” and “dress” (65) that

The Contemporary Woman in 1703 In the poem "To the Ladies," Lady Mary Chudleigh demonstrates affinity between wife and servant (1) through the use of a controlling metaphor. She describes a wife’s role by depicting it through ideas that are strongly associated with slavery. Chudleigh’s use of deigning diction, her description of the wife’s submissive actions, and her negative attitude towards the perceived future of a woman who gets married show the similarity among wife and servant (1).

Literary Analysis: The Love Song of J. Alfred Prufrock In T. S. Eliot’s The Love Song of J. Alfred Prufrock (stanza 8), he associates the spoons he uses to measure his coffee every day to the measurement of his life. The narrator says “I have measured out my life in coffee spoons” (line 51). This metaphor connects to the theme of time because the coffee is what he is spending his time alive on. He lives life from one cup of coffee to the next. His life is passing and he is living an isolated and

perhaps only within a Biblical context. A resistant reading of the poem uncovers the idea that religion, specifically the Judeo-Christian religious tradition, is intrinsically harmful and retrogressive in nature. If the ‘snake’ is interpreted as a synecdoche for Judaeo-Christian religious tradition as a whole, a profoundly negative opinion of such an ideology is formed throughout the poem. Without the ‘snake’ that is this religion, there would be no “pain and suffering”. The poem asks, “what could bear

the poem when he describes “Rebellion’s vengeful talons [that seize] on Laud” (line 168). Johnson constructs his argument through synecdoche, offering a few examples to stand for the infinite number of wishes one might make. So, too, the few people cited suggest the many others the reader can imagine. Preferring the general to the specific, Johnson finds synecdoche a convenient device for description. He does not paint a beautiful face but offers “rosy lips and radiant eyes” (line 323). The gifts

pretending it's not true as he puts on a facade. Lastly, in the couplet the speaker sums up what has happened “In things right true my heart and eyes have erred / And to this false plague are they now transferr’d” (Lines 13-140). Shakespeare uses a synecdoche when writing about the speaker’s heart and eyes to represent the speaker as a whole which means that the speaker as a whole has made a mistake. Therefore, speaker sees that he has mistaken what is true and then it seems that the speaker goes on

director and critic Nicholas Hytner summarises, “…at the center of the play is a man desperately concerned with the nature of truth and desperately concerned with his own ability to be truthful to himself.”. This desperate concern for truth is a synecdoche for inherent struggles within Elizabethan England at the birth of Humanism and the attempted nullification of ignorance. Shakespeare’s

Topoi In classical rhetoric arguments are attained from numerous source of information, otherwise known as topoi. Aristotle introduced the term topoi as a metaphor to illustrate the ‘locations’ a speaker would discover their arguments. He divided these ‘locations’ into bisections, those being special topoi and common topoi. Common topoi is found in most speeches and is subdivided into four categories, namely, definitions; comparison; relationship and circumstances. Definition: Genus and Division

into the way women were struggling to balance career against the patriarchal expectations of motherhood. The night, free from daily pressures metaphorically “absolves me of my bonds” creating a lighter sense of being, which is reinforced in the synecdoche “only my footsteps held the ground.” However, the use of conduplicatio in “One life behind and one before” represents her feeling of entrapment, as he remains in a conflicted state. The emotive language in “cut off… from love that grows about the

Throughout the text, daisy speaks, " she'll be a fool—that’s the best thing a girl can be in this world, a beautiful little fool," (20) which submits to the conservative perception of females in the 1920. Evidently, the use of a synecdoche serves to characterise daisy's reflections of her daughter as the subordinate depiction of females. Daisy herself is not a fool, though is rather a product of a community which does not value women; her sardonic remark does not challenge the absence