The anaphor is a rhetorical figure of the word repetitions, as well as the anadiploses or the epiphes, and is used as a stylistic means to structure texts and to rhythmize them. The word “anaphor” can be derived from the Greek and means roughly backward or backward (gr. Ἀναφορά (anaphorá))

The anaphor describes the repetition – one or more times – of a word or sentence at the beginning of successive verses, stanzas, or even sentences or sentences. This can lead to an intensifying effect in the underlying text through the repetitive repetition.

I write now, I write what I want, I like to write for my life. would thus be a simple sentence illustrating the construction.

In the literature we find numerous examples of the anaphores, which is why they can without question be counted among the most frequent rhetorical figures. The use of repetitive anaphores is especially common in religious texts such as the Bible.

Construction of the Anapher
The anaphor is always a form of repetition and can be identified as such very easily. It follows a simple pattern, since it always repeats a word or phrase in the following verse or sentence, which has already initiated it.

Example of the use of an anaphor by Friedrich Schiller Example for the use of an anaphor by Friedrich Schiller
The above quotation comes from Friedrich Schiller’s drama The Conspiracy of Fiesco at Genoa, and also reveals the use of the anaphores and apparently their effect. The repetition of the two words, The Moor, is surely augmented.

Furthermore, the repetition gives the sentence a certain dynamism, since it gets a certain rhythm, whereby the emphasis is on the word pair The Moor.

Effect of anaphores
If we look at another example, it is also possible to show how the anaphor not only amplifies or rhythmizes the effect of a sentence, but almost “hammeres” the narrative to the reader.

Anapher in Grillparzers “A faithful servant of his Lord” Anapher in Grillparzers “A faithful servant of his Lord”
These are the words of Duke Otto in Grillparzer’s work A faithful servant of his master to the queen. Here, the emphasis is on the repetition of the word “through,” which is surely the beginning of the enumerated words and gives them a distinct urgency.

In figurative terms, one might think that the recipient (ie, we) pauses at every “through” and thus receives the individual words much more, perhaps more consciously. However, this probably belongs to an interpretation of the text.

Further examples of the anaphores
The Book of Restlessness, Fernando Passoa
In the foreign country, Joseph von Eichendorff
Dreigroschenoper, Bertolt Brecht
Similar styling
However, the anaphor can quickly be confused with other stylistic figures, which is why it is worthwhile to take a second look at the respective text passage. For example, the epipher is merely a reflection of the anaphores, since here the literal repetition is at the end of the respective sentences and not at the beginning.

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