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Figures of Speech ~ Sixty Ways to Turn a Phrase
Writing is not like chemical engineering. The figures of speech should not be learned the same way as the periodic table of elements. This is because figures of speech are not about hypothetical structures in things, but about real potentialities within language and within ourselves. The "figurings" of speech reveal the apparently limitless plasticity of language itself. We are inescapably confronted with the intoxicating possibility that we can make language do for us almost anything we want. Or at least a Shakespeare can. The figures of speech help to see how he does it, and how we might.
Therefore, in the chapters presented in this volume, the quotations from Shakespeare, the Bible, and other sources are not presented to exemplify the definitions. Rather, the definitions are presented to lead to the quotations. And the quotations are there to show us how to do with language what we have not done before. They are there for imitation.
Therefore, in the chapters presented in this volume, the quotations from Shakespeare, the Bible, and other sources are not presented to exemplify the definitions. Rather, the definitions are presented to lead to the quotations. And the quotations are there to show us how to do with language what we have not done before. They are there for imitation.
103 pages, Paperback
First published January 1, 1982
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Displaying 1 - 30 of 42 reviews
July 9, 2025
The most accessible guide I've ever read on figures of speech. Belongs in the hall of fame of reader-friendly books.
July 2, 2013
I can't believe I never added this before. I've always loved this book. It seems funny that the best terms/concepts in which to speak about language are mostly ancient. There's logic and then there's rhetoric. This book is all about rhetoric, in the classic and modern sense. Surprise: the classic and modern sense are actually one. Technology might have changed over the past few millennia drastically, but rhetoric really hasn't changed all that much. We'll probably need to reinvent language for that to happen. It would certainly hold possibilities for species renewal. And I don't mean "poetry reinvention." I mean symbolic overhaul.
This book is a linguistic bestiary of the rhetorical creatures that go in and out of your body everyday, camouflaged as "straightforward communication." And I suppose some might take issue with my dichotomy of "logic" versus "rhetoric." I suppose some would argue that logic is only another form of rhetoric. But that's beside the point. Because I think this is an invaluable resource for anyone interested in language as anything other than pure denotative, "cat on the mat" Russell, Wittgenstein type symbolism--that dreary philosopher's dream of a "well-behaved language." (This was the early 20th century, mostly London and Viennese dream that language could be as well-behaved as mathematics and symbolic logic.) But who could only be interested in that language really? You exist as a body with nearly infinite possibilities of signification, from nihilism to beatitude and everything between. Why any philosopher would even want that dream of a language of well-behaved monads--when this isn't even a well-behaved symbolic universe--is beyond me. Of course, no poet would want that.
Language, a true virus, quickly reverts to wild forms. And this book catalogs those forms. Some of these devices are rare birds, only glimpsed in the strangest modalities of human speech. But the vast majority are pretty common. It's funny how once you know how these rhetorical devices operate, you start to see them more and become more able to distinguish an author's (sometimes unconsious) use of these devices. For example, the concept of catachresis (as defined in this book) helps me understand why I think poets as seemingly diverse as Walt Whitman, Emily Dickinson and Hart Crane all belong together. They all practice catachresis to an extreme degree. So does Gertrude Stein, for that matter.
I'm sorry to see some of the negative reviews here for this book, but I imagine some people were tortured with this book as part and parcel of this or that syllabus. I know at least one person who wanted to burn this book at the time they were being tasked with it in a postdoctoral program. And I guess many would consider this a "dry" subject or part of an antiquated scholastic regimen. But to do that is to miss a valuable aid in understanding the manipulations inherent in authorship itself. And maybe I'm just linguistically perverse, but I actually considered this challenging book (afraid to say it)....fun.
This book is a linguistic bestiary of the rhetorical creatures that go in and out of your body everyday, camouflaged as "straightforward communication." And I suppose some might take issue with my dichotomy of "logic" versus "rhetoric." I suppose some would argue that logic is only another form of rhetoric. But that's beside the point. Because I think this is an invaluable resource for anyone interested in language as anything other than pure denotative, "cat on the mat" Russell, Wittgenstein type symbolism--that dreary philosopher's dream of a "well-behaved language." (This was the early 20th century, mostly London and Viennese dream that language could be as well-behaved as mathematics and symbolic logic.) But who could only be interested in that language really? You exist as a body with nearly infinite possibilities of signification, from nihilism to beatitude and everything between. Why any philosopher would even want that dream of a language of well-behaved monads--when this isn't even a well-behaved symbolic universe--is beyond me. Of course, no poet would want that.
Language, a true virus, quickly reverts to wild forms. And this book catalogs those forms. Some of these devices are rare birds, only glimpsed in the strangest modalities of human speech. But the vast majority are pretty common. It's funny how once you know how these rhetorical devices operate, you start to see them more and become more able to distinguish an author's (sometimes unconsious) use of these devices. For example, the concept of catachresis (as defined in this book) helps me understand why I think poets as seemingly diverse as Walt Whitman, Emily Dickinson and Hart Crane all belong together. They all practice catachresis to an extreme degree. So does Gertrude Stein, for that matter.
I'm sorry to see some of the negative reviews here for this book, but I imagine some people were tortured with this book as part and parcel of this or that syllabus. I know at least one person who wanted to burn this book at the time they were being tasked with it in a postdoctoral program. And I guess many would consider this a "dry" subject or part of an antiquated scholastic regimen. But to do that is to miss a valuable aid in understanding the manipulations inherent in authorship itself. And maybe I'm just linguistically perverse, but I actually considered this challenging book (afraid to say it)....fun.
August 14, 2011
"Fair is foul and foul is fair."
"Circumstances rule men; men do not rule circumstances."
"Ye have not chosen me, but I have chosen you."
By now, you may have noticed the similarity among these three phrases: an inverse repetition of words. But you may not know this style has its own technical term (epanados). Figures of Speech: 60 Ways to Turn a Phrase, a tiny tome, lists and explains the technical terms of 60 such style devices.
Rooted in Latin, these terms are not important in that each and every one should be memorized. In fact, the author himself notes the foolishness of such a pursuit. But writers (and editors!) should know how to recognize them, and, ideally, experiment with them in their own writing.
Arthur Quinn does a solid job of explaining how to use these figures of speech. He provides brief definitions and illustrates them by listing examples from eminent writers and the Bible. However, I do have a few complaints. Sometimes Quinn glosses too quickly over a term, not giving it a full definition. He also often does not explain how his examples show a particular style device (it would be nice if he bolded them, when possible). Sure, sometimes the examples are self-explanatory but for the confusing concepts it would aid comprehension. His glossary is also a little erratic, sufficiently explaining one term while insufficiently explaining another.
Overall, however, Quinn has created a valuable resource for creative writers. It's a gem of a book in its brevity, and I wish another edition would come out to renew people's interest.
"Circumstances rule men; men do not rule circumstances."
"Ye have not chosen me, but I have chosen you."
By now, you may have noticed the similarity among these three phrases: an inverse repetition of words. But you may not know this style has its own technical term (epanados). Figures of Speech: 60 Ways to Turn a Phrase, a tiny tome, lists and explains the technical terms of 60 such style devices.
Rooted in Latin, these terms are not important in that each and every one should be memorized. In fact, the author himself notes the foolishness of such a pursuit. But writers (and editors!) should know how to recognize them, and, ideally, experiment with them in their own writing.
Arthur Quinn does a solid job of explaining how to use these figures of speech. He provides brief definitions and illustrates them by listing examples from eminent writers and the Bible. However, I do have a few complaints. Sometimes Quinn glosses too quickly over a term, not giving it a full definition. He also often does not explain how his examples show a particular style device (it would be nice if he bolded them, when possible). Sure, sometimes the examples are self-explanatory but for the confusing concepts it would aid comprehension. His glossary is also a little erratic, sufficiently explaining one term while insufficiently explaining another.
Overall, however, Quinn has created a valuable resource for creative writers. It's a gem of a book in its brevity, and I wish another edition would come out to renew people's interest.
October 14, 2015
"Style, is like a frog: you can dissect the thing, but it somehow dies in the process."
March 15, 2017
If you want a short introduction to rhetoric that reads like a witty conversation rather than a pedantic lecture, this book is for you. Quinn is just as interested in making you smile as he is in educating you. He presents “figures of speech:”
“The simplest definition of a figure of speech is ‘an intended deviation from ordinary usage.’ (An intended deviation from ordinary grammatical usage is the specific figure of speech, enallage.) Here it will be the philosopher, not the romantic, who will be out to cause us trouble. ‘What, pray tell, is ordinary usage really? Must an intention be conscious? And how do you know a deviant when you see one?’ If he wishes to flagellate himself with such questions, we will let him-while we get on with the mundane task of learning how to turn a phrase.” -P6
Quinn provides lots examples, usually at least 10 for each figure of speech. The examples often come from Shakespeare or the Bible, but he is not partisan in his selections. I’ll finish by showing how he presents one figure of speech, the asyndeton:
“The omission of an expected conjunction is called an asyndeton. Caesar is supposed to have said about Gaul: ‘I came, I saw, I conquered.’ Lincoln concluded the Gettysburg Address, ‘That government of the people, by the people, for the people, shall not perish from the earth.’
Caesar seems to have omitted his conjunction to speed things up; he is emphasizing how quickly the conquest of a place follows from its being sighted by a great and ambitious general. Lincoln’s omission is more subtle-or so it seems to me. Usually the items on a list are different but related things; eggs, butter, cheese. Sometimes they achieve a unity in which their distinctiveness is lost to all but the analytic mind, a good cheese omelet. Or perhaps we might even decide that they are but manifestations or expressions of the same thing. Lincoln would have us see these three aspects of government as constituting an inseparable whole. The asyndeton helps him do this.” -P6
“The simplest definition of a figure of speech is ‘an intended deviation from ordinary usage.’ (An intended deviation from ordinary grammatical usage is the specific figure of speech, enallage.) Here it will be the philosopher, not the romantic, who will be out to cause us trouble. ‘What, pray tell, is ordinary usage really? Must an intention be conscious? And how do you know a deviant when you see one?’ If he wishes to flagellate himself with such questions, we will let him-while we get on with the mundane task of learning how to turn a phrase.” -P6
Quinn provides lots examples, usually at least 10 for each figure of speech. The examples often come from Shakespeare or the Bible, but he is not partisan in his selections. I’ll finish by showing how he presents one figure of speech, the asyndeton:
“The omission of an expected conjunction is called an asyndeton. Caesar is supposed to have said about Gaul: ‘I came, I saw, I conquered.’ Lincoln concluded the Gettysburg Address, ‘That government of the people, by the people, for the people, shall not perish from the earth.’
Caesar seems to have omitted his conjunction to speed things up; he is emphasizing how quickly the conquest of a place follows from its being sighted by a great and ambitious general. Lincoln’s omission is more subtle-or so it seems to me. Usually the items on a list are different but related things; eggs, butter, cheese. Sometimes they achieve a unity in which their distinctiveness is lost to all but the analytic mind, a good cheese omelet. Or perhaps we might even decide that they are but manifestations or expressions of the same thing. Lincoln would have us see these three aspects of government as constituting an inseparable whole. The asyndeton helps him do this.” -P6
September 12, 2013
I’ve read this little book no less than 10 times. It never ceases to entertain me. It’s not the author’s ingratiating, stiff humor that is appealing, but the figures themselves – the excerpts that he uses as examples. It’s a pleasure to read them out loud. Sometimes they are like puzzles because you have to figure out what the authors intended and how they turned the phrase.
Some may think the book lacks rigor or depth. But to my mind, figurative language isn’t meant to be pored over and dissected. It’s not meant to be quibbled over and endlessly refined to smaller and smaller points, and narrower and narrower definitions.
No, I think a book this length is about right for this subject. A writer should be aware of the tools available in their language toolbox, and know how to use them. Who cares what they are called or how they are classified?
Some may think the book lacks rigor or depth. But to my mind, figurative language isn’t meant to be pored over and dissected. It’s not meant to be quibbled over and endlessly refined to smaller and smaller points, and narrower and narrower definitions.
No, I think a book this length is about right for this subject. A writer should be aware of the tools available in their language toolbox, and know how to use them. Who cares what they are called or how they are classified?
May 25, 2017
A clever little book, a bit old-fashioned, but witty and full of character. The humour has weathered the times well, as has the content with its examples from classical literature.
If you're looking for short introduction to the figures of speech—one which isn't over-the-top hilarious like Forsyth's "The Elements of Eloquence"—this may be the book you want. It is replete with examples that are listed in blocks, one under the other, preceded and followed by explanations but without any attempt to integrate them into the text the way Forsyth does. It's unpretentious and lays no grand claims, but gives a splendid overview of how the various figures have been applied through the ages.
Well-worth the time and the shelf-space; will serve as a good reference.
If you're looking for short introduction to the figures of speech—one which isn't over-the-top hilarious like Forsyth's "The Elements of Eloquence"—this may be the book you want. It is replete with examples that are listed in blocks, one under the other, preceded and followed by explanations but without any attempt to integrate them into the text the way Forsyth does. It's unpretentious and lays no grand claims, but gives a splendid overview of how the various figures have been applied through the ages.
Well-worth the time and the shelf-space; will serve as a good reference.
August 23, 2015
For people interested in writing or perhaps in literary analysis. This is a small volume but it's very dense. I can see myself reading this book many more times in my life.
September 29, 2015
The most useful book of its kind. This should be required reading for all English majors and language enthusiasts.
November 30, 2024
Figures of Speech' by Arthur Quinn, encourages the reader to write and flourish, keeping good faith in writing more openly, attuned to the rhythms of the intent and complexion of thoughts; rather stylishly,
revisiting the very idea of what constitutes style.
Quinn peppers many of these reflective, and often lying 'dormant' or even 'redundant', 'figures' and its descriptions with a plethora of examples, many of which beckon to the true stylistic heritage of the literary greats.
Whether it is through Voltaire or Shakespeare, Montaigne or Milton, the writer's intention is to bring into light our deeper inclinations to not merely say something but to toil just enough and express our feelings, in the finely balanced swaying scale of language.
revisiting the very idea of what constitutes style.
Quinn peppers many of these reflective, and often lying 'dormant' or even 'redundant', 'figures' and its descriptions with a plethora of examples, many of which beckon to the true stylistic heritage of the literary greats.
Whether it is through Voltaire or Shakespeare, Montaigne or Milton, the writer's intention is to bring into light our deeper inclinations to not merely say something but to toil just enough and express our feelings, in the finely balanced swaying scale of language.
December 21, 2018
Imagine this: an entertaining book on figures of speech. Arthur Quinn's method is to define the figure, give examples from literature, and then use it himself. Just describing it sounds deadly dull, but the hundreds of examples make each figure come to life. Mr. Quinn never runs out of droll observations about the figures of speech, their usage, and abusage.
I recommend this book to any writer who wishes to explore novel turns of phrase or any English student wishing to learn more about how our language can be used.
I recommend this book to any writer who wishes to explore novel turns of phrase or any English student wishing to learn more about how our language can be used.
August 22, 2021
Coming back to say, I revisit this book often. Never has such a practical book captured my heart. It’s so fun. If you write for any reason (sermons, blogs, essays, etc.), pick this one up. Great for your writing “toolbox”.
February 25, 2013
Essential reading for anyone interested in taking their writing beyond high school level writing classes. Arthur Quinn takes examples from the English Language's most influential pieces of literature (The works by Shakespeare and The Bible mostly) to illustrate the effectiveness of different turns of phrase.
The writing here is engaging. While the examples bog down the pacing, they are essential stops in his otherwise entertaining lectures. Quinn writes with an almost sanguine charisma, speaking with a tone personable enough to draw interest but not so informal as to distract from his expertise.
While this work is not a complete treatise on literary device (my favourite, montage, is sadly missing), the breadth of knowledge is complete enough to secure this as a valuable asset for any budding writer.
The writing here is engaging. While the examples bog down the pacing, they are essential stops in his otherwise entertaining lectures. Quinn writes with an almost sanguine charisma, speaking with a tone personable enough to draw interest but not so informal as to distract from his expertise.
While this work is not a complete treatise on literary device (my favourite, montage, is sadly missing), the breadth of knowledge is complete enough to secure this as a valuable asset for any budding writer.
August 26, 2018
Neither a style manual nor a book of poetic forms, this slim gem offers a whole zoology for the techniques penned in passages that catch your ear and eye, with plenty of examples to point out their range of use. Quinn avoids quibbling in the theoretical, saying, "Style...is like a frog; you can dissect the thing, but it somehow dies in the process....a naturalist would have understood that poor frog long before the vivisectionist got his hands on it." While this book might come in handy for post-graduate literary scholars, it was written very much with writers in mind. I can't recommend it higher.
May 17, 2008
Oh boy do I love this book. Just an absolute joy to read, and it's definitely made me a richer, better writer. The most enjoyable guide to rhetorical figures I've ever encountered.
July 21, 2014
everyone should know this book.
December 27, 2014
Drowning is a real danger but it's worth it for the total immersion in the beauty of language. Prepare to be swept off your feet.
July 22, 2021
There are books for the lavatory and then there books for the den. This is a case of a den read having been improperly set by the can. Mea culpa! For a constitutional read, I can think of n'ne better and am happy to report that with it I have gained far more than I have lost.
I can only imagine, based on his obvious wit and cunning, that Quinn's psychologically-persuasive method of instruction is intentional and is reminiscent of the way Rosetta Stone frequently hampers pattern recognition at first only in order to reinforce it later. He'll sometimes use a curious device, provide a powerful example, and then explain how you can replicate it and or identify it. Other times, he'll reverse the order: explain a concept, illustrate it with examples, and then use it in the next section. The variety, levity, and charm he employs makes learning the sixty ways to turn a phrase quite enjoyable.
I can only imagine, based on his obvious wit and cunning, that Quinn's psychologically-persuasive method of instruction is intentional and is reminiscent of the way Rosetta Stone frequently hampers pattern recognition at first only in order to reinforce it later. He'll sometimes use a curious device, provide a powerful example, and then explain how you can replicate it and or identify it. Other times, he'll reverse the order: explain a concept, illustrate it with examples, and then use it in the next section. The variety, levity, and charm he employs makes learning the sixty ways to turn a phrase quite enjoyable.
June 13, 2020
Serendipitious find while cleaning out my under-the-counter books. This slim volume (101 pages including helpful glossary) sprang from beneath a pile of junior high poetry. Not a full and comprehensive reference, this book contains lesser-mentioned devices. Expect to meet the enallage, the paradiastole, the asyndeton, the hendiadys, and that which would have been the students' best defense had they but chanced upon this reference in my class library, the metaplasmus. The writer is of necessity pedantic, but humorous. This little jewel is taking a spot by my favorite chair!
December 4, 2022
An interesting read for fans of rhetoric. Quinn provides many examples of the figures of speech he profiles, but the vast majority are from Roman writers, Shakespeare and the Bible; a scant minority are from the 18th century or later. As a result, the reader is left to ponder if many of the figures of speech are so archaic that they are of minor importance in more straightforward contemporary prose.
February 19, 2019
Good and quick reference book. Highly recommended for writers who want to say things in a way that goes beyond the words. Just be aware that fancy techniques only work on readers who are educated about how language can work...which means only about 5% of your audience will appreciate your skills! ;)
July 19, 2021
I enjoyed this one but wish some of the examples were expounded in more detail. I was surprised to see so many examples from the Bible. Figures of speech are everywhere once you know what to look for.
September 23, 2021
This book is written in a tone of such child-like enthusiasm it made what could have become an encyclopedic account of obscure vocabulary deeply entertaining and enriching. The wealth of examples, drawing particularly on Shakespeare and the Bible, were particularly engaging and helpful.
June 17, 2022
This is a phenomenally eye-opening book. I had never realized how malleable language could be. This book is worth the price of admission alone for the quotes that it uses for examples. I will be re-reading this book and recommending it to nearly everyone that I know.
January 9, 2019
A useful and short introduction to the figures.
January 25, 2021
Who knew what I didn't know that I didn't know? That must be some named figure of speech listed in this book.
February 25, 2021
Actually finished in December 2020, forgot to do that on here.
September 8, 2021
I love this book and read it again every two or three years. Mostly I feel dumb for never learning anything I remember, but still I find it great fun to read every time.
December 14, 2021
As a language nerd and armchair wordplayer, one of the top 10 books I ever read. Sheer and pleasure. There goes a hendiasys!
February 6, 2024
This is a wonderful book tha will open your eyes to the uses of language and rhetoric that are all around but which you rarely take notice. Cannot recommend enough
Displaying 1 - 30 of 42 reviews