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Anaphora

Anaphora (an-af'-o-ra) is the repetition of a word or phrase at the beginning of successive clauses. “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

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;Personification
And every fair from fair sometime declines,Antanaclesis
By chance or nature's changing course untrimmed.
But thy eternal summer shall not fadeMetaphor
Nor lose possession of that fair thou ow'st,
Nor shall Death brag thou wand'rest in his shade,Personification
When in eternal lines to time thou grow'st.
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.Anaphora and Anadiplosis

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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Source:
Act 1
Scene 1
Line 1

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Spoken by:
,

Figures of Speech:
, , , , , , ,

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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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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,

Figures of Speech:
, , , , , ,

Wherefore rejoice? What conquest brings he home?

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Wherefore rejoice? What conquest brings he home?
What tributaries follow him to Rome,
To grace in captive bonds his chariot-wheels?Pysma

You blocks, you stones, you worse than senseless things!
O you hard hearts, you cruel men of Rome,
Knew you not Pompey?Anaphora
Many a time and oftHendiadys
Have you climb’d up to walls and battlements,
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Source:
Act 1
Scene 1
Line 36

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, , , ,

Connected Notes:
Pandering, Contempt and the Masses, Politics and the People

Was this gentlewoman the daughter of Gerard de Narbon?

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Lafew
—Was this gentlewoman
the daughter of Gerard de Narbon?

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

Countess
His sole child, my lord, and bequeathed to
my overlooking.Ellipsis
I have those hopes of her good
that her education promises.
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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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,

Figures of Speech:
, ,

And if it stand, as you yourself still do

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And if it stand, as you yourself still do,
Within the eye of honor, be assured
My purse, my person, my extremest meansAnaphora
Lie all unlocked to your occasions.Alliteration
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Source:
Act 1
Scene 1
Line 143

Source Type:

Spoken by:

Figures of Speech:
,

Little Helen, farewell

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Parolles
Little Helen, farewell. If I can remember
thee, I will think of thee at court.
Helen
Monsieur Parolles, you were born under a
charitable star.
Parolles
Under Mars, I.Hyperbaton & Ellipsis
Helen
I especially think under Mars.

Our remedies oft in ourselves do lie,
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Set down, set down your honorable load

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Set down, set down your honorable load,Epimone
If honor may be shrouded in a hearse,Personification
Whilst I awhile obsequiously lament
Th’ untimely fall of virtuous Lancaster.
   They set down the bier.
Poor key-cold figure of a holy king,Alliteration
Pale ashes of the house of Lancaster,
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Source:
Act 1
Scene 2
Line 1

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, , ,

Figures of Speech:
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