In European languages, figures of speech are generally classified in five major categories: (1) figures of resemblance or relationship, (2) figures of emphasis or understatement, (3) figures of sound, (4) verbal games and gymnastics, and (5) errors. The first category comprises simile; metaphor; kenning (a concise compound or figurative phrase replacing a common noun, especially in Old Germanic, Old Norse, and Old English poetry), as in “whale-path” or “swan road” for “sea,” or “God’s beacon” for “sun”; conceit (usually a simile or metaphor that forms an extremely ingenious or fanciful parallel between apparently dissimilar or incongruous objects or situations), as in the Petrarchan conceit, which was popular with Renaissance writers of sonnets, a hyperbolic comparison most often made by a suffering lover of a beautiful beloved to some physical object—e.g., lips to cherries; parallelism (wherein phrases, sentences, and paragraphs are arranged so that they balance one element with another of equal importance and similar wording), as in Francis Bacon’s essay “Of Studies”: “Reading maketh a full man, conference a ready man, and writing an exact man”; personification; metonymy; synecdoche; and euphemism (using a mild word or group of words instead of one that is unpleasant or offensive), as in “passed away” instead of “died.”

The second category entails figures of emphasis or understatement. Examples include hyperbole; litotes; rhetorical question; antithesis (strongly contrasting ideas placed in sharp juxtaposition), as in the saying “Art is long, and Time is fleeting”; climax (achieved by the arrangement of units of meaning—words, phrases, clauses, or sentences—in an ascending order of importance), as in a line from Pres. Abraham Lincoln’s Gettysburg Address: “of the people, by the people, for the people”; bathos (an unsuccessful attempt to portray pathos in art, sometimes intentionally by authors for comedic effect and sometimes unintentionally), as in William Wordsworth’s attempt to arouse pity for the old huntsman in “Simon Lee,” which is defeated by the following lines:

Few months of life has he in store
As he to you will tell,
For still, the more he works, the more
Do his weak ankles swell.

Other figures of emphasis or understatement comprise paradox (an apparently self-contradictory statement in order to arrest attention and provoke fresh thought), as in Ludwig Mies van der Rohe’s widely known principle “Less is more”; oxymoron (a word or group of words that is self-contradicting), as in “bittersweet”; and irony (wherein the real meaning of a statement is concealed or contradicted), as in Jane Austen’s famous opening to Pride and Prejudice: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”

The third category consists of figures of sound, e.g., alliteration (the repetition of consonant sounds at the beginning of words or stressed syllables), as in “dead as a doornail”; repetition (use of the same word or phrase again and again for emphasis), as in a part of King Richard’s monologue before the final battle in William Shakespeare’s Richard III:

My conscience hath a thousand several tongues,
And every tongue brings in a several tale,
And every tale condemns me for a villain.

Other devices of sound entail onomatopoeia and anaphora (the repetition of a word or phrase at the beginning of several sentences or clauses), as in Martin Luther King’s “I Have a Dream” speech:

So let freedom ring from the prodigious hilltops of New Hampshire.
Let freedom ring from the mighty mountains of New York.
Let freedom ring from the heightening Alleghenies of Pennsylvania.

The fourth category comprises verbal games and gymnastics. These include pun (a humorous use of a word in such a way as to suggest different meanings or applications, or a play on words), as the dying Mercutio quips in Shakespeare’s Romeo and Juliet: “Ask for me tomorrow, and you shall find me a grave man”; and anagram (the transposing of the letters of a word or group of words to produce other words that possess meaning, preferably bearing some logical relation to the original), as in Florence Nightingale into “Flit on, cheering angel.”

The fifth category consists of errors, including malapropism (verbal blunder in which one word is replaced by another similar in sound but different in meaning), as when Amy, the youngest of the March sisters in Louisa May Alcott’s Little Women, grumbles that her classmates “label your father if he isn’t rich” though she means “libel,” thus illustrating her humorous efforts to sound more grown-up; periphrasis (a roundabout or indirect manner of writing or speaking), as illustrated by Charles Dickens in the speech of the character Wilkins Micawber, who appears in David Copperfield:

“Under the impression,” said Mr. Micawber, “that your peregrinations in this metropolis have not as yet been extensive, and that you might have some difficulty in penetrating the arcana of the Modern Babylon in the direction of the City Road—in short,” said Mr. Micawber, in another burst of confidence, “that you might lose yourself—I shall be happy to call this evening, and install you in the knowledge of the nearest way.”

Other errors include spoonerism (a reversal of the initial letters or syllables of two or more words), such as “I have a half-warmed fish in my mind” (for “half-formed wish”) and “a blushing crow” (for “a crushing blow”). Figures involving a change in sense, such as metaphor, simile, and irony, are called tropes.

Figures of speech in non-Western languages

All languages use figures of speech, but differences of language dictate different stylistic criteria. Japanese poetry is based on delicate structures of implication and an entire vocabulary of aesthetic values almost untranslatable to the West. Arabic literature is rich in simile and metaphor, but the constructions used are so different from those familiar in the West that translation requires much adaptation. This condition is also true of the oral literatures of Africa and of the written literatures deriving from them.