from The American Heritage® Dictionary of the English Language, 4th Edition
- n. The repetition of conjunctions in close succession for rhetorical effect, as in the phrase here and there and everywhere.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. The use of many conjunctions to achieve an overwhelming effect in a sentence.
from the GNU version of the Collaborative International Dictionary of English
- n. A figure by which the conjunction is often repeated, as in the sentence, “We have ships and men and money and stores.” Opposed to
from The Century Dictionary and Cyclopedia
- n. In rhetoric, a figure consisting in the use of a number of conjunctions in close succession; introduction of all the members of a series of coördinate words or clauses with conjunctions: opposed to asyndeton.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. using several conjunctions in close succession, especially where some might be omitted (as in `he ran and jumped and laughed for joy')
Then follows, introduced by a kind of polysyndeton (wekhi --
He explains, for instance, polysyndeton : It is the repeated use of a conjunction, as in Mark Twain ' s a German daily is the slowest and saddest and dreariest of the inventions of man.
I'm fond of the polysyndeton, myself. trillwing commented at 4:24 PM~
They are great figures of speech as worthy as simile, metaphor, ellipsis, alliteration, polysyndeton, syndoche of part or whole and a hundred others that we use every day.
Furthermore, I have documented proof that several have openly advocated polysyndeton!
(Teachers College Press, 1975), which is not familiar to me, has provided not only a study that is revealing but a readable introduction for any who are interested in how style can be analyzed: I have not seen such a clear exposition of polysyndeton, asyndeton, and other rhetorical devices since reading Barr's Introduction to my textbook copy of The Orations of Cicero (where all the examples are, of course, in Latin).
229 James is not yet able to create distinctive voices for her characters, and she chooses not to emulate CB's complex manipulations of parallelism, polysyndeton, and so on.
Times’s review of critic James Wood’s How Fiction Works and ran across this term, a rhetorical term, I suppose: Biblical polysyndeton, “a series of conjunctions, making for torrential sentences.”
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