(9.) It is interesting that A Tale of Two Cities practically avoids eliding verbs to form
syllepsis and may even emphasize this by an in-your-face kind of paronomasia--as when "it enter[s] Mr Stryver's mind to enter the bank" (147).
A
syllepsis is the use of a single word in such a way that it is syntactically related to two or more words elsewhere in the sentence, but has a different meaning in relation to each of the other words and now for clear understanding the suitable example would be (You took my hand and breath away)
Unlike some of the other translations, Allen's rendition of [TEXT NOT REPRODUCIBLE IN ASCII.], "to bear," preserves the
syllepsis. It has two senses: "carrying" and "enduring," the former appropriate for good things, the latter appropriate for evils.
The intertextual exchange, as shown in the present selection of articles, can be realized on many levels: as a thematic thread, narrative matrix, structural analogy, parodic transformation, quotation, metaphor, symbol or
syllepsis (p.
In a clever
syllepsis, however, Seneca notes how quickly Livia ceased to mourn after her return to Rome: simul et illum et dolorem suum posuit (At once she buried both her son and grief).
(7) Nevertheless, the atypical characteristics of the novel make them grasp at intertextual straws, for--as Michael Riffaterre claims in speaking of intertextuality, "The text's ungrammaticality is but a sign of grammaticality elsewhere, its significance a reference of meaning elsewhere" ("
Syllepsis" 627).
Instead, for example, of the statuesque
syllepsis that diffuses Gray's consciousness through the night ("And leaves the world to darkness and to me" [117]), Larkin begins his poem with a visit to the loo.
Moreover, Israel is also conflated in The Question of Zion with the individual Jewish man, a rhetorical
syllepsis in which the traumatized Jew is sometimes a human figure and sometimes a figure for the State of Israel at large.
Hugo evokes binaries only to deconstruct them at a deeper level, through
syllepsis. Therefore, for example, seeing Hugo's sentence in his 1859 letter concerning John Brown--"Devant Dieu, toutes les ames sont blanches"--Raser finds a racist conceptual weakness: "the aesthetic value of whiteness is so compelling that, in addition to assuming that 'white' is a complimentary adjective, for its sake Hugo sacrifices the political argument that the difference between black and white is of no consequence" (72).
Daniel Selden, however, has argued that the genre of the novel is typified by the figure of speech known as
syllepsis, which is characterized by a yoking of two incompatible orders, an insistence on "both" rather than "'either/or." (33) This is precisely the characteristic that Selden and Stephens have subsequently identified as animating Hellenistic poetry, there associated with the encounter by Greek poets of Alexandria with the both/and logic of Egyptian mentality.
Laurence Porter helpfully adduces the figure of
syllepsis, but makes some sweeping assertions, notably when he claims that Balzac's 'self-consciousness', in contradistinction to that of Diderot and Sterne, closes down interpretation.
The lines are related in a way that is both parallel and chiastic, and this complexity derives from the
syllepsis of the word "strand": it is through the richness of this word that the chiasmus of the stanza as a whole is fully expressed.
The rhetorics of Shakespeare's time distinguished a number of different kinds of phonetic, semantic, and syntactic overlapping, for example, paronomasia, antanaclasis, asteismus, and
syllepsis. In modern usage, we lump all these verbal effects under the nineteenth-century coinage wordplay.
