Friday, January 3, 2020
Definition and Examples of Isocolons in Rhetoric
  Isocolonà  is aà  rhetorical termà  for a succession ofà  phrases,à  clauses, orà  sentencesà  of approximately equal length and corresponding structure. Plural:à  isocolonsà  orà  isocola.         An isocolon with three parallel members is known as aà  tricolon. A four-part isocolon is aà  tetracolon climax.         Isocolon is particularly of interest, notes T.V.F. Brogan, because Aristotle mentions it in theà  Rhetoricà  as theà  figureà  that produces symmetry and balance inà  speechà  and, thus, createsà  rhythmicalà  proseà  or even measures in verse (Princeton Encyclopedia of Poetry and Poetics, 2012).          Pronunciation      à  ai-so-CO-lon          Etymology      From the Greek, of equal members or clauses          Examples and Observations      Climate is what we expect; weather is what we get.ââ¬â¹It takes a licking, but it keeps on ticking!(advertising slogan of Timex watches)Im a Pepper, hes a Pepper, shes a Pepper, were a Pepper--Wouldnt you like to be a Pepper, too? Dr. Pepper!(advertising jingle for Dr. Pepper soft drink)Come then: let us to the task, to the battle, to the toil--each to our part, each to our station. Fill the armies, rule the air, pour out the munitions, strangle the U-boats, sweep the mines, plow the land, build the ships, guard the streets, succor the wounded, uplift the downcast, and honor the brave.(Winston Churchill, speech given in Manchester, England, on January 29, 1940)Nothing thats beautiful hides its face. Nothing thats honest hides its name.(Orual inà  Till We Have Faces: A Myth Retoldà  by C.S. Lewis. Geoffrey Bles, 1956)Pity is the feeling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the sufferer. Terror is the fee   ling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the secret cause.(James Joyce,à  A Portrait of the Artist as a Young Man, 1917)An inconvenience is only an adventure wrongly considered; an adventure is an inconvenience rightly considered.(G.K. Chesterton)          Effects Created by Isocolon      Isocolon... one of the most common and important rhetoricalà  figures, is the use of successive sentences, clauses, or phrases similar in length and parallel in structure. . . . In some cases of isocolon the structural match may be so complete that the number ofà  syllablesà  in each phrase is the same; in the more common case, the parallel clauses just use the sameà  parts of speechà  in the same order. The device can produce pleasingà  rhythyms, and the parallel structures it creates may helpfully reinforce a parallel substance in the speakersà  claims...         An excessive or clumsy use of the device can create too glaring a finish and too strong a sense of calculation.(Ward Farnsworth,à  Farnsworths Classical English Rhetoric. David R. Godine, 2011)          The Isocolon Habit      Historians ofà  rhetoricà  continually puzzle over why theà  isocolonà  habit so thrilled the Greeks when they first encountered it, whyà  antithesisà  became, for a while, anà  oratoricalà  obsession. Perhaps it allowed them, for the first time, to see their two-sidedà  arguments.(Richard A. Lanham,à  Analyzing Prose, 2nd ed. Continuum, 2003)          The Difference Between Isocolon and Parison      - Isocolonà  is a sequence ofà  sentencesà  of equal length, as in Popes Equal your merits! equal is your din! (Dunciadà  II, 244), where each sentence is assigned five syllables, iconizing the concept of equal distribution...         Parison, also calledà  membrum, is a sequence ofà  clauses or phrasesà  of equal length.(Earl R. Anderson,à  A Grammar of Iconism. Fairleigh Dickinson Univ. Press, 1998)         - The Tudorà  rhetoriciansà  do not make the distinction betweenà  isocolonà  andà  parison...The definitions ofà  parisonà  by Puttenham and Day make it identical with isocolon. The figure was in great favor among the Elizabethans as is seen from its schematic use not only inà  Euphuesà  but in the work of Lylys imitators.(Sister Miriam Joseph,à  Shakespeares Use of the Arts of Language. Columbia Univ. Press, 1947)    
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