高级英语修辞手法总结归纳

英语修辞手法１、Simｉle明喻明喻就是将具有共性得不同事物作对比、这种共性存在于人们得心里,而不就是事物得自然属性.标志词常用liｋｅ, ａs, seem, as if, ａs thｏugｈ, ｓｉmiｌar tｏ, ｓuch ａs 等。

例如:1>。

He waｓlｉke aｃｏｃk wｈo tｈouｇｈｔtｈe sunｈad ｒｉsｅｎto heａr ｈim crｏｗ、2＞、I ｗaｎdereｄlonely aｓa clouｄ。

3＞。

Eｉnstｅin oｎly had a blaｎkｅｔon, ａs iｆｈe had jｕst walkeｄｏu ｔoｆaｆairy tale、2。

Metaｐhor 隐喻,暗喻隐喻就是简缩了得明喻,就是将某一事物得名称用于另一事物,通过比较形成。

例如:1〉。

Ｈｏpe ｉｓa gｏod breaｋｆast, but ｉｔiｓ a badｓupｐｅr、２＞.Soｍe books are to be tasｔed, otｈｅrsｓwallowed, ａndｓome few ｔo beｃhewｅd and digestｅｄ。

3、Metonｙmy借喻,转喻借喻不直接说出所要说得事物,而使用另一个与之相关得事物名称、I。

以容器代替内容,例如:1>。

The kettlｅboils、水开了、2〉。

Thｅｒoom sat ｓilenｔ、全屋人安静地坐着。

II。

以资料、工具代替事物得名称,例如:Lend me your eaｒs, plｅａse.请听我说、ＩＩＩ.以作者代替作品,例如:a ｐlete Shaｋespｅare 莎士比亚全集ＶＩ、以具体事物代替抽象概念,例如:Ｉhａｄthe ｍusｃle, aｎｄtｈey mａde ｍoney ｏut of iｔ、我有力气,她们就用我得力气赚钱。

4、Syｎｅcdocｈe 提喻提喻用部分代替全体,或用全体代替部分,或特殊代替一般、例如:1>。

高英修辞Lesson 11. Wind and rain now wiped the house. ----metaphor(暗喻)2. The children went from adult to adult like buckets in a fire brigade. ----simile (明喻)3. The wind sounded like the roar of a train passing a few yards away. -----simile4. …it seized a 600,00 gallon Gulfport oil tank and dumped it 3.5 miles away. ----personification(拟人)5. Rcihelieu Apartments were smashed apart as if by a gigantic fist, and 26 people perished. ---- …the6. We can batten down and ride it out. -----metaphor7. Everybody out the back door to the cars!—ellipsis (省略)8. Telephone poles and 20-inch-thick pines cracked like guns as the winds snapped them. -----simile9. Several vacationers at the luxurious Richelieu Apartments there held a hurricane party to watch the storm from their spectacular vantage point-----transferred epithet移就10. Strips of clothing festooned the standing trees, and blown down power lines coiled like black spaghetti over the roads----metaphor; simile Lesson 41.United, there is little we cannot do in a host of co-operativeventures. Divided, there is little we can do, for we dare not meet a power full challenge at odds and split asunder.—antithesis2.Let us never negotiate out of fear, but let us never fear to negotiate.—regression (回环:A-B-C)3.All this will not be finished in the first one hundred days.—allusion 引典; climax递进4. And so, my fellow Americans ask not what your country can do for you; ask what you can do for your country.—antithesis, regression回环5.We observe today not a victory of party but a celebration of freedom, symbolizing an end as well as a beginning, signifying renewal as well as change. ----parallelism6.Let the word go forth from this time and place, to friend and foe alike….—alliteration7.Let every nation know, whether it wishes us well or i11, that we shall pay any price, bear any burden meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty. ----parallelism; alliteration8.United, there is little we cannot do in a host of co-operative ventures. Divided, there is little we can do, for we dare not meet a powerful challenge at odds and split asunder. ----antithesis对句9.If a free society cannot help the many who are poor, it cannot savethe few who are rich. -----antithesis10. …to assist free men and free governments in casting off the chains of poverty. ---repetition11. And if a beachhead of co-operation may push back the jungle of suspicion…----metaphor12. Let both sides explore what problems unite us instead of belaboring those problems which divide us -----antithesis13.And let every other power know that this hemisphere intends to remain the master of its own house.-----metaphor14. The energy, the faith, the devotion which we bring to this endeavor will light our country and all who serve it, and the glow from that fire can truly light the world. -----extended metaphor15. …to strengthen its shield of the new and the weak…----metaphor16.With a good conscience our only sure reward, with history the final judge of our deeds -----parallelismLesson101.The slightest mention of the decade brings nostalgic recollections to the middle-aged and curious questionings by the young: memories of the deliciously illicit thrill of the first visit to a speakeasy, of the brave denunciation of Puritan morality, and of the fashionable experimentations in amour in the parked sedan on a country road; questions about thenaughty, jazzy parties, the flask-toting”sheik”, and the moral and stylistic vagaries of the “flapper”and the “drug-store cowboy”.—transferred epithet2. Second, in the United States it was reluctantly realized by some—subconsciously if not openly—that our country was no longer isolated in either politics or tradition and that we had reached an international stature that would forever prevent us from retreating behind the artificial walls of a provincial morality or the geographical protection of our two bordering oceans.—metaphor3.War or no war, as the generations passed, it became increasingly difficult for our young people to accept standards of behavior that bore no relationship to the bustling business medium in which they were expected to battle for success.—metaphor4.The war acted merely as a catalytic agent in this breakdown of the Victorian social structure, and by precipitation our young people into a pattern of mass murder it released their inhibited violent energies which, after the shooting was over, were turned in both Europe and America to the destruction of an obsolescent nineteenth century society.—metaphor5.The prolonged stalemate of 1915-1916,the increasing insolence of Germany toward the United States, and our official reluctance to declare our status as a belligerent were intolerable to many of our idealistic citizens, and with typical American adventurousness enhanced somewhatby the strenuous jingoism of Theodore Roosevelt, our young men began to enlist under foreign flags.—metonymy6.Their energies had been whipped up and their naive destroyed by the war and now, in sleepy Gopher Prairies all over the country, they were being asked to curb those energies and resume the pose of self-deceiving Victorian innocence that they now felt to be as outmoded as the notion that their fighting had “made the world safe for democracy”.—metaphor7.After the war, it was only natural that hopeful young writers, their minds and pens inflamed against war, Babbittry, and”Puritanical”gentility, should flock to the traditional artistic center(where living was still cheap in 1919)to pour out their new-found creative strength, to tear down the old world, to flout ht morality of their grandfathers, and to give all to art, love, and sensation.—metonymy synecdoche8. Younger brothers and sisters of the war generation, who had been playing with marbles and dolls during the battles of Belleau Wood and Chateau-Thierry, and who had suffered no real disillusionment or sense of loss, now began to imitate the manners of their elders and play with the toys of vulgar rebellion.—metaphor9.These defects would disappear if only creative art were allowed to show the way to better things, but since the country was blind and deaf to everything save the glint and ring of the dollar, there was little remedy for the sensitive mind but to emigrate to Europe where”they do thingsbetter.”—personification, metonymy ,synecdoche。

高级英语修辞总结HUA system office room 【HUA16H-TTMS2A-HUAS8Q8-HUAH1688】Rhetorical Devices一、明喻（simile）是以两种具有相同特征的事物和现象进行对比，表明本体和喻体之间的相似关系，两者都在对比中出现。

常用比喻词like, as, as if, as though等，例如：1、This elephant is like a snake as anybody can see.这头象和任何人见到的一样像一条蛇。

2、He looked as if he had just stepped out of my book of fairytales and had passed me like a spirit.他看上去好像刚从我的童话故事书中走出来，像幽灵一样从我身旁走过去。

3、It has long leaves that sway in the wind like slim fingers reaching to touch something.它那长长的叶子在风中摆动，好像伸出纤细的手指去触摸什么东西似的。

二、隐喻（metaphor）这种比喻不通过比喻词进行，而是直接将用事物当作乙事物来描写，甲乙两事物之间的联系和相似之处是暗含的。

1、German guns and German planes rained down bombs, shells and bullets...德国人的枪炮和飞机将炸弹、炮弹和子弹像暴雨一样倾泻下来。

2、The diamond department was the heart and center of the store.钻石部是商店的心脏和核心。

三、Allusion（暗引）其特点是不注明来源和出处，一般多引用人们熟知的关键词或词组，将其融合编织在作者的话语中。

引用的东西包括典故、谚语、成语、格言和俗语等。

高英修辞Lesson 11. Wind and rain now wiped the house. ----metaphor(暗喻)2. The children went from adult to adult like buckets in a fire brigade. ----simile (明喻)3. The wind sounded like the roar of a train passing a few yards away. -----simile4. …it seized a 600,00 gallon Gulfport oil tank and dumped it 3.5 miles away. ----personification(拟人)5. Rcihelieu Apartments were smashed apart as if by a gigantic fist, and 26 people perished. ---- …the6. We can batten down and ride it out. -----metaphor7. Everybody out the back door to the cars!—ellipsis (省略)8. Telephone poles and 20-inch-thick pines cracked like guns as the winds snapped them. -----simile9. Several vacationers at the luxurious Richelieu Apartments there held a hurricane party to watch the storm from their spectacular vantage point-----transferred epithet移就10. Strips of clothing festooned the standing trees, and blown down power lines coiled like black spaghetti over the roads----metaphor; simile Lesson 41.United, there is little we cannot do in a host of co-operativeventures. Divided, there is little we can do, for we dare not meet a power full challenge at odds and split asunder.—antithesis2.Let us never negotiate out of fear, but let us never fear to negotiate.—regression (回环:A-B-C)3.All this will not be finished in the first one hundred days.—allusion 引典; climax递进4. And so, my fellow Americans ask not what your country can do for you; ask what you can do for your country.—antithesis, regression回环5.We observe today not a victory of party but a celebration of freedom, symbolizing an end as well as a beginning, signifying renewal as well as change. ----parallelism6.Let the word go forth from this time and place, to friend and foe alike….—alliteration7.Let every nation know, whether it wishes us well or i11, that we shall pay any price, bear any burden meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty. ----parallelism; alliteration8.United, there is little we cannot do in a host of co-operative ventures. Divided, there is little we can do, for we dare not meet a powerful challenge at odds and split asunder. ----antithesis对句9.If a free society cannot help the many who are poor, it cannot savethe few who are rich. -----antithesis10. …to assist free men and free governments in casting off the chains of poverty. ---repetition11. And if a beachhead of co-operation may push back the jungle of suspicion…----metaphor12. Let both sides explore what problems unite us instead of belaboring those problems which divide us -----antithesis13.And let every other power know that this hemisphere intends to remain the master of its own house.-----metaphor14. The energy, the faith, the devotion which we bring to this endeavor will light our country and all who serve it, and the glow from that fire can truly light the world. -----extended metaphor15. …to strengthen its shield of the new and the weak…----metaphor16.With a good conscience our only sure reward, with history the final judge of our deeds -----parallelismLesson101.The slightest mention of the decade brings nostalgic recollections to the middle-aged and curious questionings by the young: memories of the deliciously illicit thrill of the first visit to a speakeasy, of the brave denunciation of Puritan morality, and of the fashionable experimentations in amour in the parked sedan on a country road; questions about thenaughty, jazzy parties, the flask-toting”sheik”, and the moral and stylistic vagaries of the “flapper”and the “drug-store cowboy”.—transferred epithet2. Second, in the United States it was reluctantly realized by some—subconsciously if not openly—that our country was no longer isolated in either politics or tradition and that we had reached an international stature that would forever prevent us from retreating behind the artificial walls of a provincial morality or the geographical protection of our two bordering oceans.—metaphor3.War or no war, as the generations passed, it became increasingly difficult for our young people to accept standards of behavior that bore no relationship to the bustling business medium in which they were expected to battle for success.—metaphor4.The war acted merely as a catalytic agent in this breakdown of the Victorian social structure, and by precipitation our young people into a pattern of mass murder it released their inhibited violent energies which, after the shooting was over, were turned in both Europe and America to the destruction of an obsolescent nineteenth century society.—metaphor5.The prolonged stalemate of 1915-1916,the increasing insolence of Germany toward the United States, and our official reluctance to declare our status as a belligerent were intolerable to many of our idealistic citizens, and with typical American adventurousness enhanced somewhatby the strenuous jingoism of Theodore Roosevelt, our young men began to enlist under foreign flags.—metonymy6.Their energies had been whipped up and their naive destroyed by the war and now, in sleepy Gopher Prairies all over the country, they were being asked to curb those energies and resume the pose of self-deceiving Victorian innocence that they now felt to be as outmoded as the notion that their fighting had “made the world safe for democracy”.—metaphor7.After the war, it was only natural that hopeful young writers, their minds and pens inflamed against war, Babbittry, and”Puritanical”gentility, should flock to the traditional artistic center(where living was still cheap in 1919)to pour out their new-found creative strength, to tear down the old world, to flout ht morality of their grandfathers, and to give all to art, love, and sensation.—metonymy synecdoche8. Younger brothers and sisters of the war generation, who had been playing with marbles and dolls during the battles of Belleau Wood and Chateau-Thierry, and who had suffered no real disillusionment or sense of loss, now began to imitate the manners of their elders and play with the toys of vulgar rebellion.—metaphor9.These defects would disappear if only creative art were allowed to show the way to better things, but since the country was blind and deaf to everything save the glint and ring of the dollar, there was little remedy for the sensitive mind but to emigrate to Europe where”they do things精品文库better.”—personification, metonymy ,synecdoche。

1、生动形象的（明喻）英语辞格（明喻）是一种最简单、最常用的修辞方法，也是运用最为广泛的一种修辞手段。

在文学作品中尤其如此。

《文学词汇词典》（A ）对明喻是这样定义的：A , a . ( ) “” “”.这个定义对明喻的界定既有权威性又有普遍性，许多论述英语修辞的书籍或文章在讲到明喻时，其叙述都没有超出这个概念。

根据定义，明喻是一种表现一事物像另一事物的修辞格。

说得通俗点，也就是打比方，即把要描述的事物——本体（A）用比喻词与另一种具有鲜明的同一特征的事物——喻体（B）联系起来。

常用的比喻词有（如），（像），（似乎），（好像），（好像），（像……一样）等。

其基本格式是“A B”或“A … B”。

在英语中应用得很广泛，用以状物、写景、抒情、喻理，可收到生动形象，简单明了，新鲜有趣的修辞效果。

先看引自《大学英语·精读》（笔者按：系指董亚芬总主编的大学英语系列教材( )中的《精读（ 1-6册）》[修订本]，上海外语教育出版社，1997。

下同）中的几个例子。

a a . （ 1, 3）支票像只断了翅膀的小鸟似的飘落在地板上。

一位孤苦伶仃的老人在生日那天，满心欢喜地期待她的女儿来给她祝寿，至少给她寄一份生日礼物，最终等到的却是一张冷冰冰的支票。

此句形象地描述了老人收到支票后的心情——她多么失望，就让那张令她伤心的支票随它去吧！这个明喻的比喻词是。

. ( 2, 10)对于人的精神来说，赞扬就像阳光一样：没有它我们便不能开花生长。

作者借助明喻形象地说明了赞扬的作用，赞扬对于人的精神如阳光对于生命一样重要，对于我们来说是不可或缺的。

此句的比喻词也是。

, a a . ( 2, 4)他带着一种吃惊的，不以为然的神态看着我，就像一位上校看着一名没系好靴带的列兵一样。

这句话传神地刻画出校长对于“我”这位求职者傲慢自大，不屑一顾的神气。

这句用的比喻词是。

英语中有许多谚语包含着美妙的明喻，闪烁着语言艺术的光彩。

这些谚语多数以和作比喻词。

高英修辞Lesson 11. Wind and rain now wiped the house. ----metaphor(暗喻)2. The children went from adult to adult like buckets in a fire brigade. ----simile (明喻)3. The wind sounded like the roar of a train passing a few yards away. -----simile4. …it seized a 600,00 gallon Gulfport oil tank and dumped it 3.5 miles away. ----personification(拟人)5. Rcihelieu Apartments were smashed apart as if by a gigantic fist, and 26 people perished. ---- …the6. We can batten down and ride it out. -----metaphor7. Everybody out the back door to the cars!—ellipsis (省略)8. Telephone poles and 20-inch-thick pines cracked like guns as the winds snapped them. -----simile9. Several vacationers at the luxurious Richelieu Apartments there held a hurricane party to watch the storm from their spectacular vantage point-----transferred epithet移就10. Strips of clothing festooned the standing trees, and blown down power lines coiled like black spaghetti over the roads----metaphor; simile Lesson 41.United, there is little we cannot do in a host of co-operativeventures. Divided, there is little we can do, for we dare not meet a power full challenge at odds and split asunder.—antithesis2.Let us never negotiate out of fear, but let us never fear to negotiate.—regression (回环:A-B-C)3.All this will not be finished in the first one hundred days.—allusion 引典; climax递进4. And so, my fellow Americans ask not what your country can dofor you; ask what you can do for your country.—antithesis, regression回环5.We observe today not a victory of party but a celebration of freedom, symbolizing an end as well as a beginning, signifying renewal as well as change. ----parallelism6.Let the word go forth from this time and place, to friend and foe alike….—alliteration7.Let every nation know, whether it wishes us well or i11, that we shall pay any price, bear any burden meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty. ----parallelism; alliteration8.United, there is little we cannot do in a host of co-operative ventures. Divided, there is little we can do, for we dare not meet a powerful challenge at odds and split asunder. ----antithesis对句9.If a free society cannot help the many who are poor, it cannot savethe few who are rich. -----antithesis10. …to assist free men and free governments in casting off the chains of poverty. ---repetition11. And if a beachhead of co-operation may push back the jungle of suspicion…----metaphor12. Let both sides explore what problems unite us instead of belaboring those problems which divide us -----antithesis13.And let every other power know that this hemisphere intends to remain the master of its own house.-----metaphor14. The energy, the faith, the devotion which we bring to this endeavor will light our country and all who serve it, and the glow from that fire can truly light the world. -----extended metaphor15. …to strengthen its shield of the new and the weak…----metaphor16.With a good conscience o ur only sure reward, with history the final judge of our deeds -----parallelismLesson101.The slightest mention of the decade brings nostalgic recollections to the middle-aged and curious questionings by the young: memories of the deliciously illicit thrill of the first visit to a speakeasy, of the brave denunciation of Puritan morality, and of the fashionable experimentations in amour in the parked sedan on a country road; questions about thenaughty, jazzy parties, the flask-toting”sheik”, and the moral and stylistic vagaries of the “flapper”and the “drug-store cowboy”.—transferred epithet2. Second, in the United States it was reluctantly realized by some—subconsciously if not openly—that our country was no longer isolated in either politics or tradition and that we had reached an international stature that would forever prevent us from retreating behind the artificial walls of a provincial morality or the geographical protection of our two bordering oceans.—metaphor3.War or no war, as the generations passed, it became increasingly difficult for our young people to accept standards of behavior that bore no relationship to the bustling business medium in which they were expected to battle for success.—metaphor4.The war acted merely as a catalytic agent in this breakdown of the Victorian social structure, and by precipitation our young people into a pattern of mass murder it released their inhibited violent energies which, after the shooting was over, were turned in both Europe and America to—metaphor the destruction of an obsolescent nineteenth century society.5.The prolonged stalemate of 1915-1916,the increasing insolence of Germany toward the United States, and our official reluctance to declare our status as a belligerent were intolerable to many of our idealistic citizens, and with typical American adventurousness enhanced somewhatby the strenuous jingoism of Theodore Roosevelt, our young men began to enlist under foreign flags.—metonymy6.Their energies had been whipped up and their naive destroyed by the war and now, in sleepy Gopher Prairies all over the country, they were being asked to curb those energies and resume the pose of self-deceiving Victorian innocence that they now felt to be as outmoded as the notion that their fighting had “made the world safe for democracy”.—metaphor7.After the war, it was only natural that hopeful young writers, their minds and pens inflamed against war, Babbittry, and”Puritanical”gentility, should flock to the traditional artistic center(where living was still cheap in 1919)to pour out their new-found creative strength, to tear down the old world, to flout ht morality of their grandfathers, and to giveall to art, love, and sensation.—metonymy synecdoche8. Younger brothers and sisters of the war generation, who had been playing with marbles and dolls during the battles of Belleau Wood and Chateau-Thierry, and who had suffered no real disillusionment or sense of loss, now began to imitate the manners of their elders and play with the toys of vulgar rebellion.—metaphor9.These defects would disappear if only creative art were allowed to show the way to better things, but since the country was blind and deaf to everything save the glint and ring of the dollar, there was little remedy for the sensitive mind but to emigrate to Europe where”they do thingsbetter.”—personification, metonymy ,synecdoche。

高级英语修辞
高级英语修辞是指在语言运用中使用更加复杂、精细和富有表现力的修辞手法，以达到更高的艺术效果和言语魅力。

以下是一些常见的高级英语修辞手法：
1. 比喻：用一个事物来形容另外一个事物，从而表现出它们之间的相似性。

2. 拟人：将非人的事物拟人化，赋予其人类的行为和品质，以表现出更加生动的形象。

3. 排比：采用连结词将一系列相似的词语或短语排列起来，以强调它们之间的关系。

4. 反复句：在句子中重复使用相同的词组或结构，以强调其中的某个关键点，从而达到增强语言表现力的目的。

5. 借代：用一个字来代替另一个字或一组字，以达到一定的修辞目的。

6. 比较修辞：通过比较来突出某一个方面的特点或优越性。

7. 省略：在句子中省略一些词语或语法结构，以增强句子的简洁度和艺术感染力。

这些技巧可以有助于你在英语写作和口语中达到更高的表达能力。

高级英语中的修辞手法总结带课文中例句
高级英语中常见的修辞手法包括：
1. 隐喻（Metaphor）：隐喻是一种不直接说明事物，而是通过比较或比喻来暗示某一事物的修辞手法。

例如，“爱情是一座城堡，每个人都在寻找自己的归属”（隐喻，将爱情比喻为城堡）。

2. 反讽（Irony）：反讽是一种表面说一套，实际上表达的却是与字面意思
相反的修辞手法。

例如，“我很喜欢去健身房锻炼，只是我的床喜欢把我困住”（反讽，表达的是作者不想去健身房）。

3. 排比（Parallelism）：排比是一种通过使用结构相似的句式来表达相近
或相同意思的修辞手法。

例如，“他跳得高，跑得快，游得远”（排比，强调他各方面都很优秀）。

4. 拟人（Personification）：拟人是一种将非人类事物赋予人类特性的修辞手法。

例如，“月亮害羞地躲进了云层里”（拟人，将月亮人格化）。

5. 夸张（Hyperbole）：夸张是一种通过夸大或缩小事物来表达强烈情感的修辞手法。

例如，“他高兴得像中了彩票一样”（夸张，强调他非常高兴）。

以上是高级英语中常见的修辞手法及例句，希望对你有所帮助。

Onomatopoeia （拟声）Alliteration(头韵) Simile（明喻）Metaphor（隐喻）Metonymy（转喻）Irony(反语) Repetition重复Parallelism平行结构: Personification(拟人)Analogy类比1.Onomatopoeia （拟声）: to produce sound effectIn describing the sounds heard at the bazaar, the author supplies readers with a batch of verbs and nouns.tinkle bang clash creak squeak rumble grunt groan2.Alliteration(头韵):Clean & Clear；hip hopdull, drilled, docile... （L5）for his hearth and home （L5）3.Simile（明喻）: a comparison between two unlike things having at least one quality or characteristic in common.Tenor主体: the subject of the comparisonVehicle喻体: the image of which this idea is conveyedThe vehicle is almost always introduced by the word "like" or "as".1/The bus(tenor主体) went as slowly similarity as a snail(vehicle喻体).2/The water lay grey and wrinkled like an elephant's skin.3/ Her eyes were jet black, and her hair was like a waterfall.4/ I am as busy as a bee.4.Metaphor（隐喻）: a comparison between two unlike things, but the comparison is implied rather than stated.Contrary to a simile in which the resemblance between two unlike things is1/Snow clothes the ground.Snow (A---tenor主体) is clothe (B---vehicle喻体).2/Boys and girls, tumbling in the streets and playing, were moving jewels.Boy (A---tenor) is jewel (B---vehicle) .3/ The ship ploughed the sea.Ship (A --- tenor) is plough (B ---vehicle)More examples:She washed us in a river of...burned us... Pressed us ...to shove us away. (L4) stare down any disaster in her efforts... (L4cataract of horrors (L5)rid the earth of his shadow...liberate people from his yoke(L5)5.Analogy(类比) is a form of comparison which draws a parallel between two unlike things that have some common qualities or points of resemblance. It ischiefly used for the purpose of persuasion or for the explanation of an idea or working concept. It is especially helpful in explaining abstract ideas.1/ Just as men are killing such large number of elephants for their tusks that they will soon extinguish, we are using and destroying resources in such a big amount that we are disturbing the balance between daylight and darkness. (L3)6.Metonymy（转喻）is a figure of speech that has to do with the substitution of the name of one thing for that of another. In other words, it involves a “change of name,”the substituted name suggesting the thing meant.Metonymy can be derived from various sources—from names of persons, from animals, professions, locations, place names, etc.Names of personsHave you ever read Mark Twain?John Bull—Britain, or the British peopleUncle Sam—U.S.A.Ivan—the Russian peopleAnimalsThe British Lion—The Polar Bear—ProfessionsThe press—newspapers; journalistsThe bar—the legal professionLocations of government, headquarters, etc.Capitol Hill—legislative branch of US GovernmentThe Pentagon—US military establishmentKremlin—Russian GovernmentWall Street—Hollywood—OthersThe pen—the crown—7.Repetition重复:A/ Repetition of the same word or structure:1/We have but one aim and one single purpose2/ Nothing will turn us---nothing3/ We will never parley, we will never negotiate...4/ This is our policy and this is our declarationB/ Repetition of the same meaning with different words:1/as we shall faithfully and steadfastly2/ We have but one aim, one single irrevocable purpose.8.Parallelism平行结构:1/ The past, with its crimes, its follies, and its tragedies.2/ the return of the bread-winner, of their champion, of their protector3/I see,...I see...I see…4/ We shall fight him by land, we shall fight him by sea, we shall fight him in the air 9..Personification(拟人) is a figure of speech that gives human form or feelings to animals or life and personal attributes to inanimate objects or to ideas and abstractions.A/ use pronounsThe ship (she) the dog (he)B/ other waysNature, land—mother nature; motherland1/ Youth is hot and bold. Age is weak and cold.Youth is wild and age is tame. (by Shakespeare)10.Irony(反语) is a figure of speech that achieves emphasis by saying the opposite of what is meant, the intended meaning of the words being the opposite of their usual senses.Eg.1/Fatty for a thin boy/girl; skinny for someone very fat2/ “I love queuing up.” ( I actually hate it.)。

⾼级英语⼀修辞格归纳《⾼级英语（⼀）》修辞格归纳英语修辞格种类1.⾳韵修辞格(phonological rhetorical devices)⾳韵修辞格是利⽤词语的语⾳特点创造出来的修辞⼿法。

主要包括onomatopoeia、alliteration、assonance（元韵）、consonance（辅韵）等。

2.词义修辞格(semantic rhetorical devices)主要借助语义的联想和语⾔的变化等特点创造出来的修辞⼿法。

主要包括simile, metaphor, allusion（典故）, metonymy, transferred epithet, personification, hyperbole, irony, euphemism, pun, oxymoron, zeugma（轭式修饰法）, contrast 等。

3.句法修辞格(syntactical rhetorical devices)主要是指通过句⼦结构的均衡布局或是突出重点创造出来的修辞⼿法。

这类辞格主要包括repetition, rhetorical question, parallelism, antithesis, apostrophe （顿呼）等。

Anti-climax 渐降、突降法It is the opposite of Climax (渐升、层进法). A climbing down from strong to weak, from most impressive to less impressive. It is often used in humorous writing.1.For God, for American, and for Yale.2.The duties of a solider are to protect his country and peel potatoes.3.O dear!What shall I do?I have lost my beau and lipstick too.4.I love my motherland,I love my people,I love my wife and my son and my daughter,I also love my pretty little dog.幽默风趣讽刺嘲笑出⼈意料Climax 渐升、层进法A figure of speech in which a series of words or ideas is arranged in order of increasing importance.1.We’re low---we’re very low---we’re very very low, as low as low can be.2.The audience smiled, chuckled and finally howled.3.Some books are to be tasted, others to be swallowed, and some few to be chewed anddigested.4.He who loses wealth loses much; he who loses a friend loses more; but he who loses courageloses all.5.The drunkard smashed the glasses, upturned the table, and hit an old woman.Rhetorical Question 修辞问句Asking a question whose answer is self-evident intended to stir emotions.A question requiring no answer.不需要回答,其答案寓于问句的反⾯, 其作⽤是加强语⽓,表达强烈的感情, 以引起读者或听者深思。