Exclamation or exclamation is a stylistic device of rhetoric, and can only be encountered in direct expressions of literary figures. Exclamation is an affectionate exclamation, which means that it is sometimes accompanied by a violent emotional movement. Above all, the style figure is associated with the apostrophe.

The term can be derived from the Latin (ex ~ out, clamare ~ scream) and consequently translate with exclamation or verbatim. The meaning of the word alone thus shows what is at stake here: namely the emotional exclamation by a figure in drama or literary text.

Note: The plural (plural) is, incidentally, referred to as Exclamationes and not, as is often the case, as Exclamatios. However, it is also possible to Germanize your exams.

O Girls, Girls,
How I love you!
How your eyes look!
How do you love me?
The above example is taken from Johann Wolfgang von Goethe’s Mailied. The verses of the verse form a broken cross-rhyme and contain three exhortations of the lyric self. We recognize the stylistic means by the punctuation mark. The exclamation point (!) Points to the exclamation point of the figure.

Note: The exclamation can be formulated as a statement, an invitation or a (rhetorical) question, whereby the emotional participation of the speaker is usually enriched by a strong emphasis and varying pitch (intonation) as well as various interjections (oh, ah, ei).
Exclamation in Music: The term was taken from rhetoric and transformed into a musical figure from the baroque doctrine of the actor. According to the modern view, all upward spans, which are greater than a third, can be called exclamation.

Examples of Exclamation

A stylistic figure can best be illustrated by examples and thus differentiated from others. Therefore, we would like to show you further exclamations at this point.

We had waited long before the examination room,
as the door opened and Max shouted, “I’ve packed it!”
In the above example, we clearly see that it is a Max’s exclamation and also that we are dealing with a statement from the protagonist. Furthermore, it could be seen that the exclamation seems to be emotionally motivated and almost arbitrary to the actor.

O tempora, o mores!
(Oh times, oh manners!)
This quote comes from Cicero’s first speech against Catilina. Also in this sentence, the exclamation is clearly indicated by the exclamation mark, which is why the style figure can be clearly identified. Furthermore, there is an apostrophe, since the times and customs are addressed and personalized.

O mother, mother! There is no more!
This example is taken from Gottfried Augustburger’s work Leonore. Here, too, we can locate a disturbed basic mood (interjection “O”, paractic utterance) as well as a clear statement and thus identify the whole as an exclamation.

Note: Gottfried August Bürger is also known to us as a representative of the Sturm und Drang and because of his adventurous stories around the liebaron Münchhausen.

Effect and function of the exclamation
Basically, it is difficult to attribute a unique effect to a style figure. Sometimes styling is used against our expectation.

Nevertheless, one can try to describe the effect that a character is supposed to trigger, or in which moments or situations the whole is mainly used. However, we should not commit the mistake and accept the effect without checking for correctness in the respective work.

Effect, Function and Effect of Exclamation
Exclamation is, in principle, a linguistic utterance of a figure within a work. In principle, however, we mean an exclamation that is connected with horror or shock over the current situation.
This emotional participation of the speaker is usually accompanied by interjections or other exciting elements, such as a short sentence (→ Parataxe).
Furthermore the Exclamation is not necessarily to a person, but can also be directed to a place, an absent figure or some thing (→ apostrophe, personification)

The exclamation unfolds its full effect, of course, primarily in theater, that is, in drama. This can be emotionally affected by the sudden, affective discharge of the audience and thus also influenced.

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