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Anaphora

Anaphora (an-af'-o-ra) is the repetition of a word or phrase at the beginning of successive clauses or sentences. “O, cursèd be the hand that made these holes; / Cursèd the heart that had the heart to do it; / Cursèd the blood that let this blood from hence.” Richard III, 1.2.1 See also mesodiplosis, the repetition of words in the middle, and epistrophe, the repetition of words at the end.

Anaphora is an example of:
Repetition

The Architecture of Sonnet and Song

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Let’s begin by stipulating that Ira Gershwin is not William Shakespeare. However, despite the gulf that separates their talents, they share some writing techniques that are useful tools for aspiring writers. For example, Shakespeare’s sonnet, That Time of Year, and Gershwin’s song, They Can’t Take That Away from Me*, are variations on a common template,
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Appearance and Prejudice

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One of Shakespeare’s most frequent themes is appearance versus reality. This theme manifests itself in different ways for different purposes. In Merchant of Venice (2.2.181), Bassanio says to Gratiano:

Thou art too wild, too rude and bold of voice—
Parts that become thee happily enough,
And in such eyes as ours appear not faults.
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Seduction or Harassment?

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Shakespeare delights in the seduction ceremonies of bright men with even brighter women. These dialogues, whether between adolescents like Romeo and Juliet, more mature characters like Henry V and Princess Katherine, or seasoned adults like the widow Lady Grey and the sexual harasser King Edward, in this scene (3HenryVI 3.2.36), give Shakespeare opportunities to employ dazzling webworks of rhetorical exchanges.
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Sexual Extortion

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In Measure for Measure (2.4.95), Angelo, the classic sexual harasser, adopts a method of sexual extortion similar to King Edward’s in Henry VI Part 3 (3.2.36).  Both men begin with oblique insinuations about their desires, which can be innocently misread. When the women, Isabella in Measure for Measure and Lady Grey in Henry VI,
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Shall I compare thee to a summer’s day?

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Shall I compare thee to a summer’s day?Rhetorical Question
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date.
Sometime too hot the eye of heaven shines,Metaphor & Hyperbaton
And often is his gold complexion dimmed;
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I come no more to make you laugh

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I come no more to make you laugh. Things now
PersonificationThat bear a weighty and a serious brow,
Sad, high, and working, full of state and woe,
SynecdocheSuch noble scenes as draw the eye to flow,
We now present.Hyperbaton
Those that can pity here
May,
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Act 1
Scene 1
Line Prologue

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Hence! Home, you idle creatures, get you home!

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Flavius
Hence! Home, you idle creatures, get you home!
Is this a holiday? What, know you not,
Being mechanical, you ought not walk
Upon a laboring day without the sign
Of your profession?—Speak, what trade art thou?
Carpenter
Why, sir, a carpenter.

Wherefore rejoice? What conquest brings he home?
What tributaries follow him to Rome,
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In delivering my son from me, I bury a second husband

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Countess
In delivering my son from me, I bury a second husband.
Bertram
And I in going, madam, weep o’er my father’s
death anew; but I must attend his Majesty’s
command, to whom I am now in ward, evermore
in subjection.

Moderate lamentation is the right of the dead,
excessive grief the enemy to the living

Lafew
You shall find of the King a husband,
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In sooth I know not why I am so sad

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Antonio
In sooth I know not why I am so sad.
It wearies me, you say it wearies you.
But how I caught it, found it, or came by it,Epistrophe
What stuff ’tis made of, whereof it is born,
I am to learn.
And such a want-wit sadness makes of meHyperbaton
That I have much ado to know myself.
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Act 1
Scene 1
Line 1

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Connected Notes:
The Sadness of the Merchant

Now is the winter of our discontent

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NowHyperbaton is the winter of our discontentMetaphor
Made glorious summerMetaphor by this son of York,Paronomasia
And all the clouds that louredMetaphor upon our houseMetonymy
In the deep bosom of the ocean MetaphorburiedHyperbaton & Ellipsis.
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When shall we three meet again?

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First Witch
When shall we three meet again?
In thunder, lightning, or in rain?
Second Witch
When the hurly-burly’s done,
When the battle’s lost and won.Anaphora & Anapodoton

Fair is foul, and foul is fair

Third Witch
That will be ere the set of sun.
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Act 1
Scene 1
Line 1

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An untimely ague Stayed me a prisoner in my chamber

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Buckingham
An untimely ague
Stayed me a prisoner in my chamber when
Those suns of glory, those two lights of men,Anaphora, Pun & Metaphor
Met in the vale of Andren.
Norfolk
’Twixt Guynes and Arde.
I was then present, saw them salute on horseback,
Beheld them when they lighted,
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Act 1
Scene 1
Line 2

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The King is full of grace and fair regard

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Bishop Of Canterbury
The King is full of grace and fair regard.
Bishop Of Ely
And a true lover of the holy Church.
Bishop of Canterbury
The courses of his youth promised it not.
The breath no sooner left his father’s body
But that his wildness, mortified in him,
Seemed to die too.
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Source:
Act 1
Scene 1
Line 24

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But soft, behold! Lo where it comes again!

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But soft, behold! Lo, where it comes again!
I’ll cross it though it blast me. Stay, illusion!
It spreads his arms.

If thou art privy to thy country’s fate,
Which happily foreknowing may avoid,
O, speak!

If thou hast any sound or use of voice,
Speak to me.
If there be any good thing to be done
That may to thee Hendiadysdo ease and grace to me,

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Source:
Act 1
Scene 1
Line 138

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