Synaesthesia (rhetorical device)
Synaesthesia is a rhetorical device or figure of speech where one sense is described in terms of another.[1] This may often take the form of a simile.[2] One can distinguish the literary joining of terms derived from the vocabularies of sensory domains from synaesthesia as a neuropsychological phenomenon.[3]
Panchronistic tendencies
It has been suggested that, in the tradition of Romantic poetry, the sensory transfer consisting in the synaesthesic metaphor tends to be from a lower (less differentiated sense) to a higher sense. In this respect, the sequence of senses from low to high is generally taken to be touch, taste, smell, sound, then sight. [4] This observation was named a panchronistic tendency by Stephen Ullmann since he saw the lowest levels of sense having the poorest vocabulary.[4] Upwards transfers are thought to have strong emotional effects, but downwards transfers generally witty effects.[3]
Rhetorical synaesthesia as simile
Examples of synaesthesic simile:
- "his words cut the air like a dagger" (Oscar Wilde, The Picture of Dorian Gray)[2]
- "thy voice is like wine to me" (Oscar Wilde, Salome)[2]
Rhetorical synaesthesia as transmodal modification
When a modifier which would normally apply to one sense is used collocating a noun evocative of another sense, this is known as transmodal modification.[2] Examples include:
- "mauve Hungarian music" (Oscar Wilde, An Ideal Husband)[2]
Rhetorical synaesthesia as transmodal predication
When a noun evoking one sense is linked with a predicate evoking another, this is known as transmodal predication.[2] Examples include:
- "My nostrils see her breath burn like a bush." (Dylan Thomas, When all my Five and Country Senses See)[2]
- "the silence that dwells in the forest is not so black" (Oscar Wilde, Salome)[2]
Synaesthetic polysemy
When a linkage of two senses depends upon a pun, this is known as synaesthetic polysemy.[2] Examples include:
"the hyacinth purple, and white, and blue,
Which flung from its bells a sweet peal anew
Of music"— Percy Bysshe Shelley, The Sensitive Plant[2]
References
- ^ Forsyth, Mark. The Elements of Eloquence. p. 32.
- ^ a b c d e f g h i j Anderson, Earl R. (1998). A Grammar of Iconism. Fairleigh Dickinson Univ Press. p. 199.
- ^ a b Tsur, Reuven (Spring 2007). "Issues in Literary Synaesthesia". Style. 41 (1): 30–52.
{{cite journal}}:|access-date=requires|url=(help) - ^ a b Ullmann, Stephen (1957). The Principles of Semantics. Oxford: Blackwell.