The anaphora It is a resource of rhetoric based on the repetition of words or phrases during the development of the premises that make up a text. The lyrical issuer makes use of anaphoras with a purely communicative purpose, they serve to focus the reader's attention on a particular idea.
In its etymological study it was determined that this word comes from the Latin anaphora, which in turn comes from the Greek ἀναφορά. The prefix ἀνα (ana) means "on, against", while the root φορά (phora), of the verb φερειν, means "to carry." Anaphora can be understood as coping, overloading, or the most common: repeating.
The use of anaphora in rhetoric should not be confused with common usage in linguistics. Grammatically the anaphora, instead of repeating words or phrases, seeks to avoid their repetition so that the speech has better sonority and eloquence.
To achieve what is stated in the previous paragraph, various linguistic resources are used, such as elision, which is the suppression of a subject when its existence in the text is presumed logically. Another resource is the substitution of the name for the pronoun in a speech, also to avoid redundancy.
Some clear examples of elision and substitution in grammatical anaphora are: “María came. He brought peanuts ”, after the point the subject is deleted for presuming his presence; and “Maria came. She brought peanuts ”, in this second case the subject is replaced by its pronoun.
Contrary to what is stated in the previous paragraph, and going back to what is involved in this article, anaphora as a rhetorical figure uses the repetition of one or more words to highlight or highlight some part of the speech.
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Its appearance in the speech usually occurs at the beginning of each premise, just after each period and followed, period and apart, comma or semicolon.
It becomes the reference point from which the rest of the idea starts, either around what the discourse revolves or a lever or impulse that powers it..
The anaphora should not be confused with the epiphora. Even though its use is very similar, when the word or phrase that is repeated is at the end of the propositions, it is called an epiphora.
There may be cases in which an anaphora and an epiphora are presented in the same premise and these in turn are repeated throughout the discourse.
Anaphoras in rhetoric can have more than one word; yes, it is required that the unit that is chosen to conform it is repeated throughout the entire discourse.
There may be certain variants that will be discussed later, but the discursive logic is maintained around the first form that was assumed.
If there is something that characterizes anaphoras, it is the emphasis that they allow to give to the ideas of the discourse in which they are applied..
They can be used to enhance both main and supporting ideas. Its presence facilitates the pedagogy and andragogy applied to the texts, allowing it to reach readers with real simplicity..
Thanks to this, it is normal to see it applied in school texts in the different branches of study. Within the books and their various themes, it can be seen that the writers, specialists in teaching, repeat not a single word, but several throughout the text, arranged at strategic points.
Although the aforementioned technique differs from the base concept ("the word or words to which the anaphora is applied must appear at the beginning of the verse ...") and although the words do not appear together in a sentence within the speech, they do not necessarily stop be anaphora; let's say it is a way of using the resource.
Regardless of the literary genre in which it is used or the plane in which it is manifested, the pattern recreated by the anaphora generates a discursive rhythm, as well as a sound.
That rhythm and that sound, when perceived by the lyrical receptors through reading or through oratory, cause a sensation of hooking that traps and opens the cognitive receptors.
This environment forged with words becomes the ideal space to show all possible ideas, and for them to be assimilated in the best way by the recipients..
In the case of interlocutions, the speakers are required to know how to give the required emphasis to the anaphoras. A well-prepared speech, with excellent use of resources, is useless if phonological techniques are not implemented properly.
When the word that is used to carry out the anaphora presents variations of gender, number or any aspect in its function or form, we are in the presence of an anaphora with polyptoton. This mixture is not alien or strange, it is more common than you think. A clear example is the following:
"Loved because he wanted,
in love she arranged,
in love without permission,
fell in love it was the tomb ".
In this case, an anaphora can be seen in which the word that is repeated presents changes of gender and number; then, the verb appears in the pronominal infinitive with the ending "se". Despite the changes, we do not stop being in the presence of an anaphora.
When talking about paronomasia, reference is made to those words that are used to elaborate an anaphora despite not having an identical resemblance -in fact, not even agreement in meaning-, but they do present a certain phonological or sound relationship.
This is not something out of the ordinary either, but it is a widely used and present resource in a large number of speeches. It is normal to see it when epiphoras are used, to achieve perfect consonant rhymes especially in the tenths. Some clear examples are the following:
"It's raining out today,
move in something every drop,
can feel the stupor of the night,
smells to melancholy,
smells to laugh,
can being that I already happened and what
Rains for me".
The presence of a sound similarity can be clearly seen in the underlined words, with the use of the vowel sequence “u-e-e”, in words of different meanings. It is also evident that the words within the context present a syntactic logic, they are not placed at random.
The cadence is shown in this example, the rhythm that this type of anaphora adds to the poetic discourse. The reader is led to pace himself in reading, to gradually carry the meaning and intrinsic passion of the discourse.
"I lived with gannets,
between networks and peñeros,
among great classmates
very humble and able.
What moments so fleeting
I treasure in me memory,
you are part of me story,
Punt'e Piedras, town big,
wherever i walk,
will you be your star notorious".
In this case of epiphores, the use of paronomasia is clearly appreciated, with a small variation with respect to the previous example: it was not around a single termination but rather four different terminations..
In addition, words were used that, although they differed in their meaning, shared their ends or ends for the purposes clearly proper to the tenth spinel..
The use of the anaphora is present, if it can be said, since long before the invention of writing; it was present in orality. It was necessary for the men who had to be at the head of large groups to use it in speeches to convey ideas effectively.
When writing is presented, and this is the means to achieve the graphic representation of the speeches, the tools of oratory are maintained and even improved.
From the history of Gilgamesh - Mesopotamian titan, the protagonist of what is considered the first book in human history, The Epic of Gilgamesh- even the poems of Mario Benedetti today, the use of anaphora can be evidenced. This tool has crossed the barriers of time.
All the great poets of the Spanish Golden Age used this brilliant linguistic provision to embellish and strengthen their poems and prose. Francisco de Quevedo and Luis de Góngora, two of the great Spanish writers of that time, used it.
Lorca, Miguel de Cervantes y Saavedra, Calderón de la Barca and Lope de Vega, none were exempt from resorting to anaphora, and not only Spanish speakers. All the great poets and writers of the various languages have come to use this rhetorical figure at some point..
The owners of the big brands of clothing, drinks, toys, shoes, services and everything that can be offered to the masses, know the potential of anaphora for the sales of their products..
In the same case of Coca-Cola we can evidence the use of an anaphora with paronomasia within the same name.
Although the two words that make up the name of this drink are not related, they have the internal repetition of the vowels "o-a" that facilitates learning, in addition to the mass dissemination of the product in countless songs or advertisements..
Anaphora is not only presented when trying to highlight the name of the product, but also in the songs or phrases that are used to sell it.
A clear example is that of the Corona Extra beer; one of his advertising phrases reads: "Extra crown, to see it is to love it", the anaphora present has paronomasia.
Advertisers know that the simple and repetitive is what reaches the most and, therefore, what sells the most.
Here are a number of examples in poetry, prose, advertising language, and SEO:
"give to me the dinner,
give to me The indications…
tell me if it is necessary to cross the sea ...
tell me if it is necessary to cross the desert ".
(Hell 3, 1-3)
"Per me if it goes ne la città dolente,
per me if it goes ne l'etterno pain,
per me if it goes bring the lost people".
(Poem on guitar)
"Cries monotonous
how he cries Water,
how he cries wind
over the snowfall ".
(The Aleph)
"Saw the crowded sea, saw dawn and evening, saw the crowds of America, saw a silver cobweb in the center of a black pyramid, saw a broken maze ".
("Ungrateful court room")
“And no one will be able to deny me that where a multitude of suitors concur, there is a copious mob of hypocrites. ¿What is it a suitor, but a man who is always thinking of appearing to other men as different from what he is? ¿What is it but a phony, willing to represent at all times the character that suits him best?
¿What is it but a Proteus, who changes his appearances as opportunities persuade him? ¿What is it but a chameleon that alternates colors like airs alternate? ¿What is it but a showman of virtues and concealer of vices? ¿What is it but a man who is always thinking of deceiving other men? ".
"Smell like a man, man,
Old Spice ".
"Cuca cuca, cockroach, cuca, cuca, where are you going?
Cuca cuca, cockroach, you won't be in my house ... ".
Both proposals show the clear use of anaphora to make the advertising campaign more striking. It alludes to comedy.
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