Rhetorical analysis of “limit”

Rhetorical analysis of “limit”

Poem consists of ten stanzas, heroic verse quartet of rhyme, and alternative ABAB. The first stanza has personification hyperbole when he says, “deepen the west”, two hyperbaton: “a” and “since last time.” Concludes the stanza with an enjambment with the second in the words: “Whoever under omnipotent prefix rules.” Who is an allegory of human limits: death, or perhaps God. “Almighty rules” is also a hyperbole. The second stanza has polysyndeton in verses two, three and four in the conjunctions “and”. There is a list which means “life” consists of three elements: “Shadows,” “Dreams,” “forms.” The contradictions of life are marked with a chiasmus or pun when he says: “unwoven” and “spin”. In the second verse there is a symmetry between, “and a secret” and “hard measure”. The following is repeated symmetry, but in this case is threefold: “shadow”, “Dreams” “forms.” In the latter there is a new symmetry. “Unwoven” and “spin”. The third stanza begins with two chained polysyndeton “there” and “y”. A second list is presented as the antithesis of this, it means death: “term”, “rate”, “last time”, “never again”, “oblivion.” “In this house” is hyperbaton of “we fired” and, in turn, “without knowing” what is the first sentence. Antanaclasis is formed with a two person: one is the informer, the other the deceased. In the second verse of this stanza there is a threefold symmetry between “last time”, “never again”, “oblivion.” In the fourth verse “the night stops” is hyperbaton of “behind the glass and gray.” understatement is also a metaphor, it means: dawn, says this, at least most. and is also the first element, due to the formation of four metonimiaspor effect, “gray glass,” “vague table”, “truncated shadow”, “long shadow”. Furthermore, the two adjectives shadow (“truncated”, “long”) are themselves antithetical. Finally, there is a common semantic field allusion to the blindness of the author, who will refer later: “shadow truncated” vague table “,” book read “these are all forms of blindness, ie the limits of Borges. In the fifth stanza is a second allegory (antonomásica): The South, which is also generalizing synecdoche: the South is “south of the city.” In turn, this is linked with a second synecdoche, in this case particularizing “spent Gate” is the entire house. Coupled gate gives an ellipsis of verb “spent with his vases gate (wrought) masonry and tunas.” The last figure in this verse is a comparison between gate and lithography. The sixth stanza begins with a hyperbaton, “Forever.” There is also a personification in the phrase “a mirror that awaits you.” “The Crossroads you think open” is a tautology since all crossings are inevitably open, but ends in a paradox since, “seems to open”, and actually closed because it is impossible to “travel” to the past, although it can remember. Janus Consequently it is not possible allegory: not allowed to enter the path of the past. Concludes the stanza with a neologism: “cuadrifronte.” This stanza begins with a generalizing synecdoche: “memory” because it means memory. Next is a generalizing synecdoche: for “Lost” is broader than forgetting what you mean. “Sun” and “moon” are qualified by adjectives respective paradoxical, they symbolize, in contradiction, the irrecoverable at that time where everything is backwards, as the non-being. In this final verse there is a symmetry between “or the white sun” and “not the yellow moon.” Finally, “sun” is metonymy of cause for effect, then it means day. “Luna” it is also, and is only deductible for the symmetry established with “sun” because the moon is not cause for the night there, and yes it is the sun. It can ultimately add both “source” is a metaphor of time spent and “sun” and “moon”, together, are also pomposity. In stanza number eight is given the ellipsis of the verb be “your voice will not (be) that the Persian said,” birds “and” roses “are a metaphor in the presence of” language. “” Things “is a hyperbaton , which would go after “say”, “lake” is a generalizing synecdoche he says all the lakes and just means the lake of Geneva, for the same cause is also a quintessential. The same goes for “Persian” because refers to the poet Omar Khayyam. “Yesterday” and “Today” show as the antithesis. “tips” is a metonym for the concrete to the abstract (remember -> abstract tilt -> concrete). Apheresis “Latino” for Latinos. There is a metonymy of the concrete for the abstract when he says “Rhone” and “lake” and means yesterday. “Fire” is a synecdoche particularizing it means war. “erased” means destroyed, so it is an understatement. In the final stanza is primarily a metonymy of effect for the cause by saying “dawn” and mean at dawn. Although Borges is unusual, it is still very Argentine when he speaks of “multitudes who have wanted,” therefore speak of a hyperbole. “Dear” and “forgotten” are participles antithetical. The repetition of three “and” us evidence that this is a polysyndeton. It animizan “Borges space and time and” therefore is a personification. But in particular “Borges”, besides being pomposity is also a paradox, because Borges Borges leaves. Finally, “space and time and Borges” is an enumeration that means life, the last limit that fits the poetic voice that is, to Borges.