{"id":13477,"date":"2020-05-29T00:00:44","date_gmt":"2020-05-29T04:00:44","guid":{"rendered":"https:\/\/blogs.transparent.com\/spanish\/?p=13477"},"modified":"2020-05-28T22:11:31","modified_gmt":"2020-05-29T02:11:31","slug":"rhetorical-figures-in-spanish-literature-part-2","status":"publish","type":"post","link":"https:\/\/blogs.transparent.com\/spanish\/rhetorical-figures-in-spanish-literature-part-2\/","title":{"rendered":"Rhetorical Figures in Spanish Literature (Part 2)"},"content":{"rendered":"
\"\"

Image taken from Pixabay<\/p><\/div>\n

As I promised in my previous post, let’s continue revising some of the most used rhetorical figures in Spanish literature.<\/p>\n

Hyperbaton<\/strong><\/p>\n

El hip\u00e9rbaton<\/em> Is the changing of position regarding the natural word order in a given language.<\/p>\n

 <\/p>\n

Del sal\u00f3n en el \u00e1ngulo oscuro,<\/p>\n

de su due\u00f1a tal vez olvidada,<\/p>\n

silenciosa y cubierta de polvo,<\/p>\n

ve\u00edase el arpa.<\/p>\n

In a dark corner of the room,<\/p>\n

by its mistress perhaps forgotten,<\/p>\n

covered in dust and silent,<\/p>\n

stood the harp.<\/p>\n

Fragment of \u201cDel sal\u00f3n en el \u00e1ngulo oscuro\u201d, by Gustavo Adolfo B\u00e9cquer.<\/p>\n

 <\/p>\n

Oxymoron<\/strong><\/p>\n

El ox\u00edmoron<\/em> is a self-contradiction that allows for showing either a paradoxical idea or a rhetorical point.<\/p>\n

“Alcanz\u00f3 a dar gracias a Dios por haber nacido, antes de perder la conciencia en el placer inconcebible de aquel dolor insoportable”.<\/p>\n

She managed to thank God for having been born before she lost herself in the inconceivable pleasure of that unbearable pain.<\/p>\n

Fragment of “Cien a\u00f1os de soledad”, by Gabriel Garc\u00eda M\u00e1rquez.<\/p>\n

 <\/p>\n

Anaphora<\/strong><\/p>\n

La an\u00e1fora<\/em> is the repetition of any sequence of words at the beginning of clauses in order to emphasize them.<\/p>\n

Temprano levant\u00f3 la muerte el vuelo,<\/p>\n

temprano madrug\u00f3 la madrugada,<\/p>\n

temprano est\u00e1s rodando por el suelo.<\/p>\n

No perdono a la muerte enamorada,<\/p>\n

no perdono a la vida desatenta,<\/p>\n

no perdono a la tierra ni a la nada.<\/p>\n

Too soon death lifted in flight,<\/p>\n

too soon the dawn broke,<\/p>\n

too soon you\u2019re surrounded with earth.<\/p>\n

No forgiveness for lovesick death,<\/p>\n

no forgiveness for thankless life,<\/p>\n

no forgiveness for earth or nothingness.<\/p>\n

Fragment of \u00abEleg\u00eda a Ram\u00f3n Sij\u00e9\u00bb, from El rayo que no cesa, by\u00a0 Miguel Hern\u00e1ndez.<\/p>\n

 <\/p>\n

Rhetorical question<\/strong><\/p>\n

La pregunta ret\u00f3rica<\/em> is a kind of discreet statement from the author that is not to be answered, but shows their opinion or point of view.<\/p>\n

He olvidado tu rostro, no recuerdo tus manos,<\/p>\n

\u00bfc\u00f3mo besaban tus labios?<\/p>\n

I have forgotten your face, I no longer remember your hands;<\/p>\n

how did your lips feel on mine?<\/p>\n

Fragment of “Un amor”, by Pablo Neruda.<\/p>\n

Epithet<\/strong><\/p>\n

El ep\u00edteto<\/em> is the use of descriptive words or even complete phrases that go along or replace names entirely.<\/p>\n

“Por ti la verde hierba, el fresco viento,<\/p>\n

el blanco lirio y colorada rosa<\/p>\n

y dulce primavera deseaba.”<\/p>\n

For you the green grass, the fresh wind,<\/p>\n

the white lily and red rose<\/p>\n

and sweet spring I longed.<\/p>\n

Fragment of \u201cEl dulce lamentar de dos pastores\u201d, from \u00c9gloga I, by Garcilaso de la Vega<\/p>\n

 <\/p>\n

Now that you have learned how rhetorical figures work in Spanish, you can use them to enrich your own writing or speech and be more persuasive and interesting.<\/p>\n","protected":false},"excerpt":{"rendered":"\"\"

As I promised in my previous post, let’s continue revising some of the most used rhetorical figures in Spanish literature. Hyperbaton El hip\u00e9rbaton Is the changing of position regarding the natural word order in a given language.   Del sal\u00f3n en el \u00e1ngulo oscuro, de su due\u00f1a tal vez olvidada, silenciosa y cubierta de polvo…<\/p>\n

Continue Reading<\/a><\/p>","protected":false},"author":157,"featured_media":13506,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"content-type":""},"categories":[1],"tags":[509707,358369],"class_list":["post-13477","post","type-post","status-publish","has-post-thumbnail","hentry","category-uncategorized","tag-spanish-literature","tag-vocabulary"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/posts\/13477","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/users\/157"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/comments?post=13477"}],"version-history":[{"count":8,"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/posts\/13477\/revisions"}],"predecessor-version":[{"id":13512,"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/posts\/13477\/revisions\/13512"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/media\/13506"}],"wp:attachment":[{"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/media?parent=13477"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/categories?post=13477"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.transparent.com\/spanish\/wp-json\/wp\/v2\/tags?post=13477"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}