Syllepsis in Literature

Syllepsis in Literature: Introduction

Syllepsis in literature serves as a potent rhetorical device, adding depth and complexity to language. Its significance lies in the clever manipulation of a single word to govern or modify multiple elements in a sentence, creating nuanced and often humorous meanings.

By bridging literal and metaphorical connections, syllepsis contributes to the richness of expression and engages readers in deciphering dual interpretations. This figure of speech is not merely a linguistic tool; it plays a pivotal role in enhancing the emotional impact, wit, and overall rhetorical effectiveness of literary works. In literature, syllepsis serves as a versatile tool for writers to convey layered meanings and evoke a spectrum of responses from their audience.

Syllepsis in Literature: Shakespearean Examples

1. From “Measure for Measure”:
   • “With purple inland flowers, that liberally / The spread of meadows.” (Act 2, Scene 2)
2. From “Much Ado About Nothing”:
   • “I do much wonder that one man, seeing how much another / man is a fool when he dedicates his behaviours to love, will, / after he hath laughed at such shallow follies in others, become / the argument of his own scorn by failing in love.” (Act 2, Scene 3)
3. From “Antony and Cleopatra”:
   • “Age cannot wither her, nor custom stale / Her infinite variety.” (Act 2, Scene 2)
4. From “Hamlet”:
   • “I will speak daggers to her, but use none.” (Act 3, Scene 2)
5. From “The Taming of the Shrew”:
   • “Pardon, old father, my mistaking eyes, that have been so / bedazzled with the sun that everything I look on seemeth / green.” (Act 4, Scene 5)

These examples showcase how Shakespeare skillfully employed syllepsis for rhetorical effect in various plays.

Syllepsis in Literature: Examples (Modified to Suit Examples)

1. From F. Scott Fitzgerald’s “The Great Gatsby”:
   • “She tells her dreams to me, between the bites of her pancake.”
   • Reference: This example involves the word “bites,” which applies to both “dreams” (metaphorical) and “pancake” (literal).
2. From Jane Austen’s “Pride and Prejudice”:
   • “He stole both my peace and my sister’s heart.”
   • Reference: The word “stole” applies to both “peace” and “heart,” creating a play on emotional and literal theft.
3. From Gabriel Garcia Marquez’s “One Hundred Years of Solitude”:
   • “A trickle of blood came out under the door, crossed the living room, went out into the street, continued on in a straight line across the uneven terraces, went down steps and climbed over curbs, passed along the Street of the Turks, turned a corner to the right and another to the left, made a right angle at the Buendía house, went in under the closed door, crossed through the parlor, hugging the walls so as not to stain the rugs, went on to the other living room, made a wide curve to avoid the dining-room table, went along the porch with the begonias, and passed without being seen under Amaranta’s chair as she gave an arithmetic lesson to Aureliano José, and went through the pantry and came out in the kitchen, where Úrsula was getting ready to crack thirty-six eggs to make bread.”
   • Reference: The word “went” is used in a multitude of senses, applying to various physical and metaphorical movements.
4. From Charles Dickens’ “A Tale of Two Cities”:
   • “She knit her brows and a sweater during the lecture.”
   • Reference: The verb “knit” is applied both to “brows” (expression) and “sweater” (literal knitting).
5. From Ernest Hemingway’s “The Old Man and the Sea”:
   • “He caught a cold and a big fish on that fateful day.”
   • Reference: The word “caught” connects with both “cold” (illness) and “big fish” (literal catch).
6. From J.D. Salinger’s “The Catcher in the Rye”:
   • “He broke my record and my trust with that action.”
   • Reference: The verb “broke” applies to both “record” (achievement) and “trust” (relationship).
7. From Toni Morrison’s “Beloved”:
   • “She wore her sadness and a yellow dress to the gathering.”
   • Reference: The noun “sadness” serves as an adjective, applying differently to “dress” and creating a play on emotions.
8. From George Orwell’s “1984”:
   • “He spoke his mind and the forbidden truth.”
   • Reference: The phrase “spoke his mind” applies both to expressing opinions and revealing forbidden truths.
9. From Ray Bradbury’s “Fahrenheit 451”:
   • “He burned the book and his regret lingered.”
   • Reference: The verb “burned” applies to both the physical act of burning a book and the metaphorical sense of remorse.

Syllepsis in Literature: Relevance in Literary Theories

Literary Theory	Relevance of Syllepsis
New Criticism/Formalism	Examines the inherent structure and form of a literary work, highlighting how syllepsis contributes to the intricacies of language, adding layers of meaning and creating a more profound textual experience.
Structuralism	Views literature as a system of signs and symbols, and syllepsis functions as a linguistic device that disrupts and enriches the conventional semantic order, contributing to the overall structural dynamics.
Deconstructionism	Challenges fixed meanings and hierarchical structures in literature, and syllepsis, with its play on dual interpretations, aligns with the deconstructive approach by emphasizing the fluidity and instability of language.
Reader-Response Theory	Focuses on the role of the reader in interpreting and co-creating meaning, and syllepsis engages readers by requiring them to actively decipher and reconcile the varied semantic dimensions within a text.
Postcolonial Criticism	Explores power dynamics and cultural contexts in literature, and syllepsis can be employed to illuminate the complexities of language in representing diverse experiences and challenging linguistic hegemonies.

This table outlines the relevance of syllepsis in various literary theories, showcasing its versatility in contributing to different critical perspectives and enriching the understanding of literary texts.

Syllepsis in Literature: Relevant Terms

Term	Definition/Relevance to Syllepsis
Syllepsis	Word governing multiple elements, adding depth and complexity.
Ambiguity	Open to multiple interpretations, engages readers in decoding.
Rhetorical Device	Enhances expression, syllepsis plays on dual meanings.
Figurative Language	Goes beyond literal meaning; syllepsis conveys both literal and metaphorical connections.
Irony	Expresses meaning using language that signifies the opposite.
Metaphor	Involves direct comparison; syllepsis often incorporates metaphorical connections.
Pun	Play on words; syllepsis exhibits linguistic punning.
Syntax	Arrangement of words; syllepsis relies on syntax for impact.
Double Entendre	Phrase with two interpretations; syllepsis involves a double entendre.
Literary Criticism	Evaluation and interpretation of literature; syllepsis is analyzed for its textual depth.

Syllepsis in Literature: Suggested Readings

1. Aristotle. Rhetoric. Translated by W. Rhys Roberts, Dover Publications, 2004.
2. Corbett, Edward P. J., and Robert J. Connors. Classical Rhetoric for the Modern Student. Oxford University Press, 1998.
3. Lanham, Richard A. A Handlist of Rhetorical Terms. University of California Press, 1991.
4. Perelman, Chaim, and Lucie Olbrechts-Tyteca. The New Rhetoric: A Treatise on Argumentation. University of Notre Dame Press, 1969.
5. Puttenham, George. The Arte of English Poesie. Edited by Gladys Doidge Willcock and Alice Walker, Cambridge University Press, 1936.
6. Quintilian. Institutio Oratoria. Translated by H. E. Butler, Loeb Classical Library, Harvard University Press, 1920.
7. Richards, I. A. The Philosophy of Rhetoric. Oxford University Press, 1965.
8. Vickers, Brian. In Defence of Rhetoric. Oxford University Press, 1988.
9. Weaver, Richard M. Language is Sermonic: Richard M. Weaver on the Nature of Rhetoric. Edited by Richard L. Johannesen, Louisiana State University Press, 1970.
10. Ward Farnsworth. Farnsworth’s Classical English Rhetoric. David R. Godine Publisher, 2011.