高级英语修辞手法
高级英语修辞手法汇总
高英修辞Lesson 11. Wind and rain now wiped the house. ----metaphor(暗喻)2. The children went from adult to adult like buckets in a fire brigade. ----simile (明喻)3. The wind sounded like the roar of a train passing a few yards away. -----simile4. …it seized a 600,00 gallon Gulfport oil tank and dumped it 3.5 miles away. ----personification(拟人)5. Rcihelieu Apartments were smashed apart as if by a gigantic fist, and 26 people perished. ---- …the6. We can batten down and ride it out. -----metaphor7. Everybody out the back door to the cars!—ellipsis (省略)8. Telephone poles and 20-inch-thick pines cracked like guns as the winds snapped them. -----simile9. Several vacationers at the luxurious Richelieu Apartments there held a hurricane party to watch the storm from their spectacular vantage point-----transferred epithet移就10. Strips of clothing festooned the standing trees, and blown down power lines coiled like black spaghetti over the roads----metaphor; simileLesson 41.United, there is little we cannot do in a host of co-operative ventures. Divided, there is little we can do, for we dare not meet a power full challenge at odds and split asunder.—antithesis2.Let us never negotiate out of fear, but let us never fear to negotiate.—regression (回环:A-B-C)3.All this will not be finished in the first one hundred days.—allusion 引典; climax递进4. And so, my fellow Americans ask not what your country can do for you; ask what you can do for your country.—antithesis, regression回环5.We observe today not a victory of party but a celebration of freedom, symbolizing an end as well as a beginning, signifying renewal as well as change. ----parallelism6.Let the word go forth from this time and place, to friend and foe alike….—alliteration7.Let every nation know, whether it wishes us well or i11, that we shall pay any price, bear any burden meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty. ----parallelism; alliteration8.United, there is little we cannot do in a host of co-operative ventures. Divided, there is little we can do, for we dare not meet a powerful challenge at odds and split asunder. ----antithesis对句9.If a free society cannot help the many who are poor, it cannot save the few who are rich. -----antithesis10. …to assist free men and free governments in casting off the chains of poverty. ---repetition11. And if a beachhead of co-operation may push back the jungle of suspicion…----metaphor12. Let both sides explore what problems unite us instead of belaboring those problems which divide us -----antithesis13.And let every other power know that this hemisphere intends to remain the master of its own house.-----metaphor14. The energy, the faith, the devotion which we bring to this endeavor will light our country and all who serve it, and the glow from that fire can truly light the world. -----extended metaphor15. …to strengthen its shield of the new and the weak…----metaphor16.With a good conscience our only sure reward, with history the final judge of our deeds -----parallelismLesson101.The slightest mention of the decade brings nostalgic recollections to the middle-aged and curious questionings by the young: memories of the deliciously illicit thrill of the first visit to a speakeasy, of the brave denunciation of Puritan morality, and of thefashionable experimentations in amour in the parked sedan on a country road; questions about the naughty, jazzy parties, the flask-toting”sheik”, and the moral and stylistic vagaries of the “flapper”and the “drug-store cowboy”.—transferred epithet2. Second, in the United States it was reluctantly realized by some—subconsciously if not openly—that our country was no longer isolated in either politics or tradition and that we had reached an international stature that would forever prevent us from retreating behind the artificial walls of a provincial morality or the geographical protection of our two bordering oceans.—metaphor3.War or no war, as the generations passed, it became increasingly difficult for our young people to accept standards of behavior that bore no relationship to the bustling business medium in which they were expected to battle for success.—metaphor4.The war acted merely as a catalytic agent in this breakdown of the Victorian social structure, and by precipitation our young people into a pattern of mass murder it released their inhibited violent energies which, after the shooting was over, were turned in both Europe and America to the destruction of an obsolescent nineteenth century society.—metaphor5.The prolonged stalemate of 1915-1916,the increasing insolence of Germany toward the United States, and our officialreluctance to declare our status as a belligerent were intolerable to many of our idealistic citizens, and with typical American adventurousness enhanced somewhat by the strenuous jingoism of Theodore Roosevelt, our young men began to enlist under foreign flags.—metonymy6.Their energies had been whipped up and their naive destroyed by the war and now, in sleepy Gopher Prairies all over the country, they were being asked to curb those energies and resume the pose of self-deceiving Victorian innocence that they now felt to be as outmoded as the notion that their fighting had “made the world safe for democracy”.—metaphor7.After the war, it was only natural that hopeful young writers, their minds and pens inflamed against war, Babbittry, and”Puritanical”gentility, should flock to the traditional artistic center(where living was still cheap in 1919)to pour out their new-found creative strength, to tear down the old world, to flout ht morality of their grandfathers, and to give all to art, love, and sensation.—metonymy synecdoche8. Younger brothers and sisters of the war generation, who had been playing with marbles and dolls during the battles of Belleau Wood and Chateau-Thierry, and who had suffered no real disillusionment or sense of loss, now began to imitate the manners oftheir elders and play with the toys of vulgar rebellion.—metaphor9.These defects would disappear if only creative art were allowed to show the way to better things, but since the country was blind and deaf to everything save the glint and ring of the dollar, there was little remedy for the sensitive mind but to emigrate to Europe where”they do things better.”—personification, metonymy ,synecdoche。
高级英语第一册最常用修辞手法总结
高级英语1------常考修辞手法总结1.Simile 明喻明喻是将具有共性的不同事物作对比，这种共性存在于人们的心里,而不是事物的自然属性。
标志词常用like, as, seem, as if, as though, similar to, such as等。
例如:1>.He was like a cock who thought the sun had risen to hear him crow.2>.I wandered lonely as a cloud.3>.Einstein only had a blanket on, as if he had just walked out of a fairy tale.2.Metaphor 隐喻，暗喻隐喻是简缩了的明喻,是将某一事物的名称用于另一事物,通过比较形成.例如：1>.Hope is a good breakfast, but it is a bad supper.2>.Some books are to be tasted, others swallowed, and some few to be chewed and digested.3.Metonymy 借喻,转喻借喻不直接说出所要说的事物,而使用另一个与之相关的事物名称.I.以容器代替内容,例如:1>.The kettle boils. 水开了.2>.The room sat silent. 全屋人安静地坐着.II.以资料.工具代替事物的名称,例如:Lend me your ears, please. 请听我说.III.以作者代替作品,例如:a complete Shakespeare 莎士比亚全集VI.以具体事物代替抽象概念,例如:I had the muscle, and they made money out of it. 我有力气,他们就用我的力气赚钱.4.Synecdoche 提喻提喻用部分代替全体,或用全体代替部分,或特殊代替一般.例如:1>.There are about 100 hands working in his factory.(部分代整体)他的厂里约有100名工人.2>.He is the Newton of this century.(特殊代一般)他是本世纪的牛顿.3>.The fox goes very well with your cap.（整体代部分）这狐皮围脖与你的帽子很相配.5.Synaesthesia 通感,联觉,移觉这种修辞法是以视.听.触.嗅.味等感觉直接描写事物.通感就是把不同感官的感觉沟通起来，借联想引起感觉转移，“以感觉写感觉”。
高级英语修辞总结
高级英语修辞总结Rhetorical Devices一、明喻（simile）是以两种具有相同特征的事物和现象进行对比，表明本体和喻体之间的相似关系，两者都在对比中出现。
常用比喻词like, as, as if, as though等，例如：1、This elephant is like a snake as anybody can see.这头象和任何人见到的一样像一条蛇。
2、He looked as if he had just stepped out of my book of fairytales and had passed me like a spirit.他看上去好像刚从我的童话故事书中走出来，像幽灵一样从我身旁走过去。
3、It has long leaves that sway in the wind like slim fingers reaching to touch something. 它那长长的叶子在风中摆动，好像伸出纤细的手指去触摸什么东西似的。
二、隐喻（metaphor）这种比喻不通过比喻词进行，而是直接将用事物当作乙事物来描写，甲乙两事物之间的联系和相似之处是暗含的。
1、German guns and German planes rained down bombs, shells and bullets...德国人的枪炮和飞机将炸弹、炮弹和子弹像暴雨一样倾泻下来。
2、The diamond department was the heart and center of the store.钻石部是商店的心脏和核心。
三、Allusion（暗引）其特点是不注明来源和出处，一般多引用人们熟知的关键词或词组，将其融合编织在作者的话语中。
引用的东西包括典故、谚语、成语、格言和俗语等。
英语引用最多的是源出《圣经》故事以及希腊、罗马神话、《伊索寓言》和那些源远流长的谚语、格言等。
例如：1、Grammar may be his heel of Achilles.语法是他的大弱点。
高级英语修辞手法汇总
高英修辞Lesson 11. Wind and rain now wiped the house. ----metaphor(暗喻)2. The children went from adult to adult like buckets in a fire brigade. ----simile (明喻)3. The wind sounded like the roar of a train passing a few yards away. -----simile4. …it seized a 600,00 gallon Gulfport oil tank and dumped it 3.5 miles away. ----personification(拟人)5. Rcihelieu Apartments were smashed apart as if by a gigantic fist, and 26 people perished. ---- …the6. We can batten down and ride it out. -----metaphor7. Everybody out the back door to the cars!—ellipsis (省略)8. Telephone poles and 20-inch-thick pines cracked like guns as the winds snapped them. -----simile9. Several vacationers at the luxurious Richelieu Apartments there held a hurricane party to watch the storm from their spectacular vantage point-----transferred epithet移就10. Strips of clothing festooned the standing trees, and blown down power lines coiled like black spaghetti over the roads----metaphor; simile Lesson 41.United, there is little we cannot do in a host of co-operativeventures. Divided, there is little we can do, for we dare not meet a power full challenge at odds and split asunder.—antithesis2.Let us never negotiate out of fear, but let us never fear to negotiate.—regression (回环:A-B-C)3.All this will not be finished in the first one hundred days.—allusion 引典; climax递进4. And so, my fellow Americans ask not what your country can dofor you; ask what you can do for your country.—antithesis, regression回环5.We observe today not a victory of party but a celebration of freedom, symbolizing an end as well as a beginning, signifying renewal as well as change. ----parallelism6.Let the word go forth from this time and place, to friend and foe alike….—alliteration7.Let every nation know, whether it wishes us well or i11, that we shall pay any price, bear any burden meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty. ----parallelism; alliteration8.United, there is little we cannot do in a host of co-operative ventures. Divided, there is little we can do, for we dare not meet a powerful challenge at odds and split asunder. ----antithesis对句9.If a free society cannot help the many who are poor, it cannot savethe few who are rich. -----antithesis10. …to assist free men and free governments in casting off the chains of poverty. ---repetition11. And if a beachhead of co-operation may push back the jungle of suspicion…----metaphor12. Let both sides explore what problems unite us instead of belaboring those problems which divide us -----antithesis13.And let every other power know that this hemisphere intends to remain the master of its own house.-----metaphor14. The energy, the faith, the devotion which we bring to this endeavor will light our country and all who serve it, and the glow from that fire can truly light the world. -----extended metaphor15. …to strengthen its shield of the new and the weak…----metaphor16.With a good conscience o ur only sure reward, with history the final judge of our deeds -----parallelismLesson101.The slightest mention of the decade brings nostalgic recollections to the middle-aged and curious questionings by the young: memories of the deliciously illicit thrill of the first visit to a speakeasy, of the brave denunciation of Puritan morality, and of the fashionable experimentations in amour in the parked sedan on a country road; questions about thenaughty, jazzy parties, the flask-toting”sheik”, and the moral and stylistic vagaries of the “flapper”and the “drug-store cowboy”.—transferred epithet2. Second, in the United States it was reluctantly realized by some—subconsciously if not openly—that our country was no longer isolated in either politics or tradition and that we had reached an international stature that would forever prevent us from retreating behind the artificial walls of a provincial morality or the geographical protection of our two bordering oceans.—metaphor3.War or no war, as the generations passed, it became increasingly difficult for our young people to accept standards of behavior that bore no relationship to the bustling business medium in which they were expected to battle for success.—metaphor4.The war acted merely as a catalytic agent in this breakdown of the Victorian social structure, and by precipitation our young people into a pattern of mass murder it released their inhibited violent energies which, after the shooting was over, were turned in both Europe and America to—metaphor the destruction of an obsolescent nineteenth century society.5.The prolonged stalemate of 1915-1916,the increasing insolence of Germany toward the United States, and our official reluctance to declare our status as a belligerent were intolerable to many of our idealistic citizens, and with typical American adventurousness enhanced somewhatby the strenuous jingoism of Theodore Roosevelt, our young men began to enlist under foreign flags.—metonymy6.Their energies had been whipped up and their naive destroyed by the war and now, in sleepy Gopher Prairies all over the country, they were being asked to curb those energies and resume the pose of self-deceiving Victorian innocence that they now felt to be as outmoded as the notion that their fighting had “made the world safe for democracy”.—metaphor7.After the war, it was only natural that hopeful young writers, their minds and pens inflamed against war, Babbittry, and”Puritanical”gentility, should flock to the traditional artistic center(where living was still cheap in 1919)to pour out their new-found creative strength, to tear down the old world, to flout ht morality of their grandfathers, and to giveall to art, love, and sensation.—metonymy synecdoche8. Younger brothers and sisters of the war generation, who had been playing with marbles and dolls during the battles of Belleau Wood and Chateau-Thierry, and who had suffered no real disillusionment or sense of loss, now began to imitate the manners of their elders and play with the toys of vulgar rebellion.—metaphor9.These defects would disappear if only creative art were allowed to show the way to better things, but since the country was blind and deaf to everything save the glint and ring of the dollar, there was little remedy for the sensitive mind but to emigrate to Europe where”they do thingsbetter.”—personification, metonymy ,synecdoche。
《高级英语》课程中的修辞研究
《高级英语》课程中的修辞研究修辞是文学创作和语言表达中广泛运用的技巧和手段，旨在让语言更加富有感染力和表现力。
《高级英语》课程中的修辞研究主要包括四个方面的内容：修辞手法、修辞分析、修辞批评和修辞应用。
一、修辞手法修辞手法是修辞学研究的核心内容，也是学生必须掌握的基本技巧。
其中，最常用的修辞手法包括比喻、拟人、夸张、反语、排比等。
1.比喻：比喻是将两个本来没有任何关系的事物进行类比，以便更好地说明一个概念或情感。
比喻可以使语言更加形象、生动，让读者更容易理解和接受作者的观点。
2.拟人：拟人是将非人物化的事物赋予人的特征和行为，让读者觉得它们像人一样具有思维、感情和行动能力。
拟人可以让文本更加感人、有趣，让读者更加易于产生共鸣。
3.夸张：夸张是用过度强调或夸大的手法来表达某种情感或强调某个观点。
夸张可以让语言更有张力和感染力，让读者更加注意到作者的意图。
4.反语：反语是用相反的话来表达自己的意图，通常用于表达讽刺、讥笑、批评等意味。
反语可以使语言更加幽默、深刻，让读者更加有舒适感和启迪性。
5.排比：排比是用类似的结构和构造来重复表达一种思想或情感。
排比可以使语言更加流畅、有韵律，让读者更加容易记住和理解作者的意图。
二、修辞分析修辞分析是对文本中所使用的修辞手法进行细致分析和解释。
对于高级英语学生来说，掌握分析修辞的技能至关重要。
在修辞分析中，学生需要关注以下几个方面：1.修辞手法的类型和目的：学生需要明确修辞手法是哪种类型、用于什么目的。
2.修辞手法的具体表现：学生需要找出文本中哪些地方使用了该修辞手法。
3.修辞手法的效果：学生需要说明修辞手法的使用会带来什么效果，比如增强感染力、产生幽默效果、强化情感表达等等。
三、修辞批评修辞批评是对文本中所使用的修辞手法进行批评和评价。
在进行修辞批评时，学生需要注意以下几个方面：1.修辞手法是否恰当：学生需要评估该修辞手法是否适合用于该文本的情境，是否符合文本的语气、风格和主题。
高级英语修辞
1.生动形象的Simile(明喻)英语词格simile（明喻）是一种最简单、最常用的修辞方法，也是运用最为广泛的一种修辞手段。
在此文学作品中尤其如此。
《文学词典》（A Dictionary of Literary Terms）对明喻是这样定义的：A figure of speech in which one thing is likened to another, in such a way as toclarify and enhance an image. It is explicit comparison (as oppose to the metaphor where comparison is implicit) recognizable by the use of words ―like‖ or ―as‖.这个定义对明喻的界定既有权威性又有普遍性，许多论述英语修辞的书籍或文章在讲到明喻时，其叙述都没有超出这个概念。
根据定义，明喻是一种表现一事物像另一事物的修辞格。
说得通俗点，也就是大比方，既把要描述的事物——本体（A）用比喻词语另一种具有鲜明的同一特征的事物——喻体（B）联系起来。
常用的比喻词有as(如), like(像), seem(似乎), as if(好像), as though(好像), such as(像…..一样)等。
其基本格式是“A is like B”或“A is as…as B”。
Simile在英语中应用的很广泛，用以状、写景、抒情、喻理，可收到生动形象、简明明了、新鲜有趣的修辞效果。
先看引自《大学英语精读》（College English, 董亚芬总主编，下同）中的几个例子。
The cheque fluttered to the floor like a bird with a broken wing.(College English, Book 1, Unit 3)支票像只断了翅膀的小鸟似的飘落在地板上。
高级英语第五课修辞手法分析
高级英语第五课修辞手法分析预览说明:预览图片所展示的格式为文档的源格式展示,下载源文件没有水印,内容可编辑和复制1. Irony(反讽) is the use of words that the opposite of what you really mean, often as a joke and with a tone of voice that shows this.(1)I award this champion only after laborious research and incessant prayer. (L.1, Para.5)(2)It is as if some titanic and aberrant genius, uncompromisingly inimical to man, had devotedall the ingenuity of Hell to the making of them. (L.14, Para.5)(3)It is incredible that mere ignorance should have achieved such masterpieces of horror.(L.11,Para.6)2. Sarcasm(讽刺) is a way of using words that are the opposite of what you mean in order to be unpleasant to somebody or to make fun of them.(1) Obviously, if there were architects of any professional sense or dignity in the region, they would have perfected a chalet to hug the hillsides… (L.6, Para.3)(2) They are incomparable in color, and they are incomparable in design. (L.13, Para.5)3. Ridicule(嘲讽) refers to unkind comments that make fun of somebody/something or make them look silly.(1) When it has taken on the patina of the mills it is the color of an egg long past all hope or caring. (L.2, Para.4)(2) They made it perfect in their own sight by putting a completely impossible penthouse, painteda staring yellow, on top of it. (L.15, Para.8)4. Understatement(低调陈述) is the opposite of hyperbole. It achieves its effect of emphasizing a fact by deliberately understating it, impressing the listeners or the readers more by what is merely implied or left unsaid than by bare statement.(1) The country itself is not uncomely, despite the grime of the endless mills. （L.1, Para.3）5. Antonomasia(换称) is a figure of speech that involves the use of epithet or title in place of a name, and also the use of a proper name in place of a common noun.(1) Safe in a Pullman, I have whirled through the gloomy, God-forsaken villages of Iowa and Kansas, and the malarious tidewater hamlets of Georgia. (L.7, Para5)6. Antithetical Contrast(反衬对比) is a figure of speech combined by antithesis and contrast, and often has two sharply contrasting ideas balanced across a sentence (or neighboring sentences) (1) Here was the very heart of industrial America, the center of its most lucrative and characteristic activity, the boast and pride of the richest and grandest nation ever seen on earth—and here was a sense so dreadfully hideous, so intolerably bleak and forlorn that it reduced the whole aspiration of man to a macabre and depressing joke. (L.5, Para.1)(2) Here was wealth beyond computation, almost beyond imagination—and here were habitations so abominable that they would have disgraced a race of alley cats. (L.10, Para1)7. Hyperbole(夸张) is a way of speaking or writing that makes something should be better, more exciting, dangerous, etc. than it really is.(1) What I allude to is the unbroken and agonizing ugliness, the sheer revolting monstrousness, of every house in sight. (L.2,Para.2)(2) From East Liberty to Greensburg, a distance of twenty-five miles, there was not one in sight from the train that did not insult and lacerate the eye. (L.3, Para.2)(3) But in Westmoreland they prefer that uremic yellow, and so they have the most loathsome towns and villages ever seen by mortal eye. (L.8, Para.4)(4) I have seen, I believe, all of the most unlovely towns of the world; they are all to be found in the United States. (L.2, Para.5)(5) It is as if some titanic and aberrant genius, uncompromisingly inimical to man, had devoted all the ingenuity of Hell to the making of them. (L.14, Para.5)8. Metaphor(暗喻) is a figure of speech that describes something by referring to it as something else, in order to show that the two things have the same qualities and to make the description more powerful.(1) Here was the very heart of industrial America… (L.5, Para.1)(2)…on their low sides they bury themselves swinishly in the mud. ((L.17, Para. 3)(3) And one and all they are streaked in grime, with dead and eczematous patches of paint peeping through the streaks. (L.20, Para.3)(4) The effect is that of a fat woman with a black eye. It is that of a Presbyterian grinning. (L.17, Para.8)(5) Out of the melting pot emerges a race which hates beauty as it hates truth. (L.3, Para.9)9. Simile(明喻) is a figure of speech that often uses the words like or as, etc. to make a comparison between to unlike elements having at least one quality or characteristic in common.(1) …one blinked before them as one blinks before a man with face shot away. (L.7, Para.2)(2) …a crazy little church just west of Jeannette, set like a dormer window on the side of a bare leprous hill… (L.9, Para.2)(3) …a steel stadium like a huge rat-trap somewhere further down the line. (L.12, Para.2)10. Rhetorical Question(修辞疑问句) is a figure of speech in the form of a question posed for its persuasive effect without the expectation of a reply. Rhetorical question encourages the listener to think about what the answer (often obvious) to the question might be.(1) But what have they done? (L.11, Para.3)(2) Was it necessary to adopt that shocking color? (L.4, Para.4)(3) Are they so frightful because the valley is full of foreigners—dull, intense brutes, with no love of beauty in them? (L.1, Para.6)(4) Then why did not these foreigners set up similar abominations in the countries that they came from? (L.2, Para.6)。
高级英语修辞手法和各课举例
常用修辞手法：1. 比喻比喻就是打比方。
可分为明喻和暗喻：明喻(simile)：用like, as, as...as, as if(though) 或用其他词语指出两个不同事物的相似之处。
例如：O my love's like a red, red rose. 我的爱人像一朵红红的玫瑰花。
The man can't be trusted. He is as slippery as an eel. 那个人不可信赖。
他像鳗鱼一样狡猾。
暗喻(metaphor)：用一个词来指代与该词所指事物有相似特点的另外一个事物。
例如：He has a heart of stone. 他有一颗铁石心肠。
The world is a stage. 世界是一个大舞台。
2. 换喻(metonymy)用一事物的名称代替另外一个与它关系密切的事物的名称，只要一提到其中一种事物，就会使人联想到另一种。
如the White House 代美国政府或总统，用the bottle来代替wine 或者alcohol。
His purse would not allow him that luxury. 他的经济条件不允许他享受那种奢华。
The mother did her best to take care of the cradle. 母亲尽最大努力照看孩子。
He succeeded to the crown in 1848. 他在1848年继承了王位。
3. 提喻(synecdoche)指用部分代表整体或者用整体代表部分，以特殊代表一般或者用一般代表特殊。
例如：He earns his bread by writing. 他靠写作挣钱谋生。
The farms were short of hands during the harvest season. 在收获季节农场缺乏劳动力。
Australia beat Canada at cricket. 澳大利亚队在板球比赛中击败了加拿大队。
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1. Simile 明喻明喻是将具有共性的不同事物作对比.这种共性存在于人们的心里,而不是事物的自然属性.标志词常用like, as, seem, as if, as though, similar to, such as等.例如:1>.He was like a cock who thought the sun had risen to hear him crow.2>.I wandered lonely as a cloud.3>.Einstein only had a blanket on, as if he had just walked out of a fairy tale.2.Metaphor 隐喻,暗喻隐喻是简缩了的明喻,是将某一事物的名称用于另一事物,通过比较形成.例如:1>.Hope is a good breakfast, but it is a bad supper.2>.Some books are to be tasted, others swallowed, and some few to be chewed and digested.3.Metonymy 借喻,转喻借喻不直接说出所要说的事物,而使用另一个与之相关的事物名称.I.以容器代替内容,例如:1>.The kettle boils. 水开了.2>.The room sat silent. 全屋人安静地坐着.II.以资料.工具代替事物的名称,例如:Lend me your ears, please. 请听我说.III.以作者代替作品,例如:a complete Shakespeare 莎士比亚全集VI.以具体事物代替抽象概念,例如:I had the muscle, and they made money out of it. 我有力气,他们就用我的力气赚钱.4.Synecdoche 提喻提喻用部分代替全体,或用全体代替部分,或特殊代替一般.例如:1>.There are about 100 hands working in his factory.(部分代整体)他的厂里约有100名工人.2>.He is the Newton of this century.(特殊代一般)他是本世纪的牛顿.3>.The fox goes very well with your cap.（整体代部分）这狐皮围脖与你的帽子很相配5.Synaesthesia 通感,联觉,移觉这种修辞法是以视.听.触.嗅.味等感觉直接描写事物.通感就是把不同感官的感觉沟通起来，借联想引起感觉转移，“以感觉写感觉”。
通感技巧的运用，能突破语言的局限，丰富表情达意的审美情趣，起到增强文采的艺术效果。
比如：欣赏建筑的重复与变化的样式会联想到音乐的重复与变化的节奏；闻到酸的东西会联想到尖锐的物体；听到飘渺轻柔的音乐会联想到薄薄的半透明的纱子；又比如朱自清《荷塘月色》里的“ 微风过处送来缕缕清香,仿佛远处高楼上渺茫的歌声似的”。
例如:1>.The birds sat upon a tree and poured forth their lily like voice.（用视觉形容听觉，鸟落在树上，由它发出的声音联想到百合花）鸟儿落在树上,倾泻出百合花似的声音.2>.Taste the music of Mozart.（用嗅觉形容听觉）品尝Mozart的音乐.6.Personification 拟人拟人是把生命赋予无生命的事物.例如:1>.The night gently lays her hand at our fevered heads.（把夜拟人化）2>.I was very happy and could hear the birds singing in the woods.（把鸟拟人化）7.Hyperbole 夸张夸张是以言过其实的说法表达强调的目的.它可以加强语势,增加表达效果..例如:1>.I beg a thousand pardons.2>.Love you. You are the whole world to me, and the moon and the stars.3>.When she heard the bad news, a river of tears poured out.8.Parallelism 排比, 平行这种修辞法是把两个或两个以上的结构大体相同或相似,意思相关,语气一致的短语.句子排列成串,形成一个整体.例如:1>.No one can be perfectly free till all are free; no one can be perfectly moral till all are moral; no one can be perfectly happy till all are happy.2>.In the days when all these things are to be answered for, I summon you and yours, to the last of your bad race, to answer for them. In the days when all these things are to be answered for, I summon your brother, the worst of your bad race, to answer for them separately.9.Euphemism委婉,婉辞法婉辞法指用委婉,文雅的方法表达粗恶,避讳的话.例如:1>.He is out visiting the necessary. 他出去方便一下.2>.His relation with his wife has not been fortunate.他与妻子关系不融洽.3>.Deng Xiaoping passed away in 1997.（去世）10.Allegory讽喻,比方（原意“寓言”）建立在假借过去或别处的事例与对象之上，传达暗示，影射或者讥讽现世各种现象的含义。
英文解释：an expressive style that uses fictional characters andevents to describe some subject by suggestive resemblances; anextended metaphor摘自英语专业《大学英语教程》一书这是一种源于希腊文的修辞法,意为"换个方式的说法".它是一种形象的描述,具有双重性,表层含义与真正意味的是两回事.例如:1>.Make the hay while the sun shines.表层含义：趁着出太阳的时候晒草真正意味：趁热打铁2>.It's time to turn plough into sword.表层含义：是时候把犁变成剑11.Irony反语反语指用相反意义的词来表达意思的作文方式.如在指责过失.错误时,用赞同过失的说法,而在表扬时,则近乎责难的说法.例如:1>.It would be a fine thing indeed not knowing what time it was inthe morning.早上没有时间观念还真是一件好事啊（真实含义是应该明确早上的时间观念）2>"Of course, you only carry large notes, no small change on you."the waiter said to the beggar.12.Pun双关双关就是用一个词在句子中的双重含义,借题发挥.作出多种解释,旁敲侧击,从而达到意想不到的幽默.滑稽效果.它主要以相似的词形.词意和谐音的方式出现.例如:1>.She is too low for a high praise, too brown for a fair praise andtoo little for a great praise.2>.An ambassador is an honest man who lies abroad for the goodof his country.3>.If we don't hang together, we shall hang separately.13.Parody仿拟这是一种模仿名言.警句.谚语,改动其中部分词语,从而使其产生新意的修辞.例如:1>.Rome was not built in a day, nor in a year.2>.A friend in need is a friend to be avoided.3>.If you give a girl an inch nowadays she will make address of it.14.Rhetorical question修辞疑问（反问）它与疑问句的不同在于它并不以得到答复为目的,而是以疑问为手段,取得修辞上的效果,其特点是:肯定问句表示强烈否定,而否定问句表示强烈的肯定.它的答案往往是不言而喻的.例如:1>.How was it possible to walk for an hour through the woods andsee nothing worth of note?2>.Shall we allow those untruths to go unanswered?15.Antithesis对照,对比,对偶这种修辞指将意义完全相反的语句排在一起对比的一种修辞方法.例如:1>.Not that I loved Caeser less but that I loved Romemore.2>.You are staying; I am going.3>.Give me liberty, or give me death.16.Paradox隽语这是一种貌似矛盾,但包含一定哲理的意味深长的说法,是一种矛盾修辞法..例如:1>.More haste, less speed.欲速则不达2>.The child is the father to the man.（童年时代可决定人之未来）三岁看大，四岁看老。