What is epiphora examples. Rhetorical epiphora. Examples of epiphora from fiction

Consisting of repeating the same words at the end adjacent segments speech. Often the epiphora is used in poetic speech (very often in folklore) in the form of the same or similar endings of stanzas (for example, Alexander Gladkov's poetic play "A long time ago" and the song of the same name from the movie "Hussar Ballad").

The opposite of epiphora is anaphora.

Examples

And justice itself is the law of time, that it should devour its children—thus preached madness.

Morally, everything is distributed according to law and punishment. Ah, where is the deliverance from the flow of things and from the punishment of "existence"? That's what madness preached.

Can there be deliverance if there is an eternal right? Ah, the “was” stone is motionless: all punishments must be eternal. So preached madness

My name is beardless youth,
It doesn't matter to me, right.
But do not call a coward ...
Long time ago... Long time ago...
Another mustache twists vehemently,
The bottles all look at the bottom,
But he himself is only a copy of the hussar ...
Long time ago... Long time ago...
Another swears by passionate passion,
But when wine is drunk
All his passion is at the bottom of the bottle...
Long time ago... Long time ago...
Lovers knee-deep sea,
I'm with them in this at the same time,
But treason guards all ...
Long time ago... Long time ago...

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See what "Epiphora (rhetoric)" is in other dictionaries:

Epiphora: Wiktionary has the entry "epiphora" Epiphora (rhetoric) a rhetorical figure. Epiphora (literature) is a stylistic figure of repetition of the endings of adjacent verses or phrases (or a single ending). Epiphora (medicine) system disease ... ... Wikipedia

Epiphora- (from Greek epiphora additive; another variant of etymology: from Greek epi after + phoros bearing) a word figure included in the group of addition figures. E. is the identity, or repetition of a word, a group of words, speech structures at the end of several sentences, ... ... Pedagogical speech science

This term has other meanings, see Figure. Figure (rhetorical figure, stylistic figure, figure of speech; Latin figura from other Greek σχῆμα) is a term of rhetoric and stylistics, denoting turns of speech that do not contribute ... ... Wikipedia

This term has other meanings, see Tautology. Tautology (from other Greek ταυτολογία: ταυτο “the same” and from λόγος thought, reason or speech) is a rhetorical figure, which is an unreasonable repetition ... Wikipedia

This term has other meanings, see Amplification. Amplification (lat. amplificatio extension) is a stylistic figure, which is a series of repetitive speech constructions or individual words. Amplification ... ... Wikipedia

This term has other meanings, see Hyperbole. Hyperbole (from other Greek ὑπερβολή “transition; excess, excess; exaggeration”) is a stylistic figure of explicit and deliberate exaggeration, in order to enhance expressiveness and ... ... Wikipedia

This term has other meanings, see Inversion. Inversion is a philological term referring to figures of speech that comes from the Latin word inversio, turning over, rearranging a change in the direct order of words or ... ... Wikipedia

This term has other meanings, see Climax. Climax (from other Greek κλῖμαξ “leaning ladder”) is a figure of speech consisting in such an arrangement of parts of a statement related to one subject that each subsequent ... ... Wikipedia

This term has other meanings, see Parallelism. Parallelism (other Greek παραλληλισμος location nearby, juxtaposition) is a rhetorical figure, which is an arrangement of identical or similar grammatically and ... ... Wikipedia

This term has other meanings, see Retardation. Retardation (from lat. retardatio slowdown) literary artistic technique: delay in the development of the action by including extra-fable lyrical elements in the text ... ... Wikipedia

Translated from the Greek epiphora is "repetition, addition, pressure." the repetition of the same sounds at the ends of adjacent words in lines can be vividly demonstrated by a simple rhyme. This is a grammatical epiphora. Examples of it are often found in children's poems:

We lived together on the balcony

Mac, daffodil. They were friends.

Sometimes, in order to emphasize the importance of a single word or phrase, it is repeated at the end of a stanza or lines, forming the so-called tautological rhyme. This is a lexical epiphora. Examples - verses:

My son's eighteenth birthday

The sweetest, beloved, dear,

My hare, Hedgehog-paw!

He's funny, so funny -

My baby, my son!

And I haven’t called Ezhulka for a long time -

Head to the ceiling!

The swirling son became Ezhishche ...

Soon he will become an adult ...

And he won’t say, as before: “Mommy!”

But - he will come to visit, and I will

I will proudly introduce him: “Son!”

Rhetorical epiphora is often used. Examples of this technique can be found in songs, especially often in Russian folk songs. A children's song about two geese perfectly demonstrates it with its unforgettable lines: "One is gray, the other is white, two funny geese", as well as Yulia Drunina's poems "You are near."

Often in poetry they use the repetition of the first quatrain in conclusion. Sometimes they are slightly different, more often they are repeated verbatim. It is also a rhetorical epiphora. Examples are poems by the same Yu. Drunina "There is a time to love."

They begin with the words: “There is time to love, there is time to write about love”, and at the end these lines are repeated with a slight change: instead of the word “write”, the author uses the verb “read”.

Often in prose, the authors want to emphasize the significance of a single moment, episode, subject. Then the artist of the word uses a repetition of an episode or one of some phrases, passages. Examples of epiphora are presented in this miniature.

"Barcarolle" by Tchaikovsky

What does Barcarolle sing to her about? About the sea, about love, about hope, about grief... She herself seems to dissolve in the music, experiencing everything anew... For the umpteenth time...

The growing noise of the approaching wave, the soft impact of water on the shore and the quiet rustling of the reverse run ... And now a new wave begins to gain strength, rolls ashore!

The sea is big, warm, gentle. And on the shore they are together with Max - so dear, so beloved ... And the waves ... Waves ?! They warned of disaster! They wanted to say that ... but they could not speak more clearly!

Return trip. Max is driving. Whistling a cheerful tune. Here he pressed the brakes and put his head on his hands folded on the steering wheel. Everything…

She suddenly realized that something irreparable had happened, she screamed, and began to turn his face towards her! Then it became clear to her that this was everything.

And at once all sounds disappeared for her, as if her ears were stuffed with cotton wool. She did not understand anything, only heard everything again and again the rising noise of an approaching wave… The soft thump of water against the shore… The quiet rustling of the reverse run…

She finished the game. She dropped her hands to her knees. She stood in front of a silent, as if empty hall. Silently bowed into emptiness and silence. And suddenly…

The hall erupted in applause! And she stood before him, small, lost, with wet trails of tears on her cheeks. And I didn't hear anything...

And in the ears everything was not silent the growing noise of the approaching wave, the soft blow of water against the shore and the quiet rustling of the reverse run ... And on the shore they are... Together... With Max... So dear, so loved!

EPIPHORA

- (from the Greek epophora - additive) - a stylistic figure: the repetition of a word or group of words at the end of lines of poetry or prose phrases; one of the parallel syntactic constructions(see parallelism).

I won't deceive myself

Concern lay in the misty heart.

Why did I become known as a charlatan,

Why am I known as a brawler?

And now I won't get sick.

The slough in the heart cleared up like a mist.

That's why I was known as a charlatan,

That's why I was known as a brawler.

S. Yesenin

Varieties of anaphora

1. Anaphora sound - repetition of the same combinations of sounds.

For example:
Thunderstorm demolished bridges,
Gr both from a blurry cemetery"
(Pushkin A.S.)

2. Anaphora morphemic - repetition of the same morphemes or parts of words.

For example:
Black eyed girl
Black-maned horse! ..
(Lermontov M.Yu.)

3. Anaphora lexical - repetition of the same words:

For example:
The winds did not blow in vain,
The storm was not in vain.
(Yesenin S.A.)

4. Syntactic anaphora - repetition of the same syntactic constructions:

For example:
Do I wander along the noisy streets,
I enter a crowded temple,
Am I sitting among the foolish youths,
I surrender to my dreams.
(Pushkin A.S.)

5. Anaphora strophic
Earth!..
From snow moisture
She's still fresh.
She wanders by herself
And breathes like deja.
Earth!..
She runs, runs
A thousand miles ahead
Above her the lark trembles
And he sings about her.
Earth!..
Everything is more beautiful and visible
She lies around.
And better than happiness no, on it
Live until death.
Earth!..
To the west, to the east
North and south...
I would have crouched, embraced Morgunok,
Not enough hands...
(Tvardovsky A.T.)

6. Strophico-syntactic anaphora

For example:
Until the machine gun craves
To gut the human thicket,
Omet lives and lives
Among the mills, the harvest is chewing.

Until he suffers commander
Cut the enemy with one blow
Barns are filling up
Fields with a golden gift.

Until the enemy thunder says
Your opening remarks
In the fields it can't be otherwise
A catcher of spaces than an agronomist.
(Tikhonov N.S.)

Anaphora can be placed at the beginning of hemistiches (" The city is lush, the city is poor"), strings (" She was not afraid of retribution, she was not afraid of loss."), stanzas, run through the entire poem in various combinations (Lermontov " When worried";Fet" This morning, this joy" etc.).

Anaphora also called a poem, all the words of which begin with the same sound.

For example:
L clean flax lovingly sculpts
The azure of caressing forests,
I love crafty lilies babble,
Flying incense petals.

Often anaphora connects with another rhetorical figure - gradation.

GRADATION(from lat. gradient- gradual elevation) - a stylistic figure, which consists in the consistent injection or, conversely, the weakening of comparisons, images, epithets, metaphors and other expressive means of artistic speech.

There are two types gradations- menopause (climb) and anticlimax (descent).

Climax - one of the popular figures of Russian poetry, in which words and expressions in a phrase are arranged in order of their increasing value.

For example:
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
(S.A. Yesenin)

And the thoughts in my head are worried in courage,
And light rhymes run towards them,
And fingers ask for a pen, pen for paper,
minute - and the verses will flow freely.
(A.S. Pushkin)

Anticlimax - a figure in which words and expressions are arranged according to the strength of intonation and meaning in descending order.

For example:
I swear to Leningrad wounds,
The first ruined hearths;
I will not break, I will not falter, I will not get tired,
I won't forgive an ounce of my enemies.
(O.G. Bergolts)

The most common trinomial gradation.

For example:
I came, I saw, I conquered. (Caesar);

And where is Mazepa? Where is the villain?
Where did Judas flee in fear?(Pushkin);

In sweet-foggy care
Not an hour, not a day, not a year will leave.(Boratynsky);

The impression of gradation is enhanced by a special rhythmic-syntactic structure, often - anaphora(see above).

For example:
Love you capricious dream,
I love you with all the strength of my soul,
I love you with all my blood young
Love you, love you, hurry up!

Sometimes the middle members of the gradation, in their logical meaning, do not form a strict increase, but due to the melody of the verse, its syntactic features, an impression of gradation is obtained, which in this case is more pronounced during recitation.

For example, at the beginning of the poem F.I. Tyutchev " Malaria“:
"...I love this, invisibly
In everything spilled, mysterious evil -
In flowers, in a source as transparent as glass,
And in the rainbow rays, and in the very sky of Rome" -

In themselves, more or less equivalent images of flowers, source, rays and sky form an increasing series, mainly due to the fact that the first image is expressed in one word - general concept, in the second one stands out essential feature, and the third and fourth begin with an anaphoric and, raising intonation, which culminates in the amplifying adjective "most", preceding the last image.

And vice versa, the semantic growth, not supported by rhythmic-syntax, does not give a sufficient feeling gradations.

For example, in Zhukovsky:
"There were both summer and autumn rainy,
Pastures, fields were sunk,
Bread in the fields is not ripe and gone,
There was famine, people were dying".

gradation can be the principle of the composition of a whole poem.

for example strophic gradation with anaphora Tyutchev in a poem: " The East was white... The East was red... The East was on fire..."or Fet has a poem:" I came to you with greetings»:
I came to you with greetings
Say that the sun has risen
What is hot light
The sheets fluttered;

Tell that the forest woke up,
All woke up, each branch,
Startled by every bird
And full of spring thirst;

Tell that with the same passion,
Like yesterday, I came again
That the soul is still the same happiness
And ready to serve you;

Tell that from everywhere
It blows fun on me,
I don't know what I will
Sing - but only the song matures.

In a similar way, we can observe gradation in the plot structure of larger literary genres, fairy tales, short stories, etc., for example, in folk tale « Mena"(by Afanasyev, parallels by the brothers Grimm, Andersen, etc.), in" Tale of the fisherman and the fish"and others, in the story of Leonid Andreev" Life of Basil of Thebes", in biblical history Job, etc.

EPIPHORA(from Greek. epiphora- addition, repetition) - a stylistic figure - the repetition of the same word at the end of adjacent segments of speech, one of the varieties of parallel syntactic constructions.

For example:
I won't deceive myself
Laid care in the misty heart.
Why was known I'm a charlatan,
Why am I known as a brawler?
And now I won't get sick.
The pool cleared up in the misty heart.
That's why I was known as a charlatan,
That's why I was known as a brawler.
(S. Yesenin)

Dear friend, and in this quiet house
The fever hits me.
Can't find me a place in a quiet house
Near peaceful fire!
(A. Blok)

Well, I ... I'm walking the road,
The usual work is not hard:
There are some who believe in God.
no pop,
And I'm here too.
There the bride and groom are waiting, -
no pop,
And I'm here too.
There they take care of the baby, -
no pop,
and I'm here too.
(A. Tvardovsky)

My name is beardless youth,
It doesn't matter to me, right.
But do not call a coward ...
Long time ago... Long time ago...

Another mustache twists vehemently,
The bottles all look at the bottom,
But he himself is only a copy of the hussar ...
Long time ago... Long time ago...

Another swears by passionate passion,
But when wine is drunk
All his passion is at the bottom of the bottle...
Long time ago... Long time ago...

Lovers knee-deep sea,
I'm with them in this at the same time,
But treason guards all ...
Long time ago... Long time ago...
(A. Gladkov)

The stylistic device of repeating the same sounds at the ends of adjacent words in lines can be vividly demonstrated by a simple rhyme. This is a grammatical epiphora.: Sometimes, in order to emphasize the importance of a single word or phrase, it is repeated at the end of a stanza or lines, forming a so-called tautological rhyme.

Epiphora, like anaphora, has its own varieties:

1. Grammar epiphora - reception of repetition of the same sounds at the ends of adjacent words in lines. Examples of it are often found in children's poems.

For example:
We lived together on the balcony
Mac, daffodil.
They were friends.

2. Lexical epiphora - repetition of the same word at the end of a segment of speech.

For example:
When the ocean rises
The waves are roaring around me,
When the clouds roll in like a storm,
Keep me, my talisman.

In the solitude of foreign countries,
In the bosom of boring peace,
In the anxiety of fiery battle
Keep me, my talisman ...
(A.S. Pushkin)

Scallops, all scallops: scallop cape, scalloped sleeves, scalloped epaulettes, scallops below, scallops everywhere.(N. V. Gogol)

3. Semantic epiphora - repetition at the end of a synonymous word.

For example:
Under the trumpets poviti, under the helmets are cherished, the end is a copy of the repentance ...("A word about Igor's regiment")

4. Rhetorical epiphora.

Examples of this technique can be found in songs, especially often in Russian folk songs. A children's song about two geese perfectly demonstrates it with its unforgettable lines: " One is gray, the other is white, two funny geese", as well as poems by Yulia Drunina" You're near»:
You are near, and everything is fine:
And rain and cold wind.
Thank you my clear
For the fact that you are in the world.

Thanks for those lips
Thank you for these hands.
Thank you my love
For the fact that you are in the world.

You are near, but you could
Don't meet each other...
My only one, thank you
For what you are in the world!

Often in poetry they use the repetition of the first quatrain in conclusion. Sometimes they are slightly different, more often they are repeated verbatim. it's the same rhetorical epiphora.

Examples - the poems of the same Yu. Drunina " There is a time to love". They begin with the words: There is a time to love, there is a time to write about love", and at the end these lines are repeated with a slight change: instead of the word " write» the author uses the verb « read».

There is a time to love
Eat - write about love.
Why ask:
"Tear my letters"?
I'm happy -
Man lives on earth
Who does not see
What time snow
For a long time with a head
Brought that girl
What did you sip
And happiness, and tears ...
No need to ask:
"Tear my letters!"
There is a time to love
Eat - read about love.

Here is how the vigilant orator Cicero uses the epiphora: You mourn that the three armies of the Roman people were exterminated - Antony exterminated them. You do not count the illustrious citizens - and they were taken from us by Antony. The authority of our class has been overthrown - Antony has overthrown it. In a word, if we argue strictly, everything that we subsequently saw (and what kind of disasters did we not see?), We will attribute only Antony"(Cicero. The second philippic against Mark Antony).

Epiphora constantly used in a variety of poetic genres.

For example, in a poem by F.G. Lorca " Desert"(translated by M. Tsvetaeva):
Labyrinths dug by time - disappeared.
Desert - remained.
The incessant heart - the source of desires - dried up.
Desert - remained.
Sunset haze and kisses are gone.
Desert - remained.
Silenced, decayed, cooled down, dried up, disappeared.
Desert - remained.

The epiphora contained in the epigram of O.E. Mandelstam on the artist N.I. Altman (who painted the portrait of the poet):
This is the artist Altman,
very an old man .
In German it means Altman -
a very old man."

The true tragedy of loneliness is expressed by Z.N. Gippius, already a very elderly poetess who lost her husband D.S. Merezhkovsky, with whom she was not separated for a single day for more than 50 years. Poems dedicated to her and her husband to the secretary and old friend V.A. Zlobin, are an example of an epiphora that even has a graphical expression:

Loneliness with you ... It is
What is better and easier to be ONE.

It embraces with thick longing,
And I want to be completely ONE.

This longing - no! - not thick - empty.
In silence it is easier to be ONE.

Clock birds, like a sightless flock,
Do not fly by - one to one.

But your silence is not soundless,
Noises, il shadow, all to ONE.

With them, perhaps, not sickening, not boring,
Only desire is to be ONE.

Nothing will be born of this silence,
It is easier to give birth to yourself - ONE.

There is just something idly flowing in it ...
And at night it's so scary to be ALONE.

Maybe it's embarrassing for you
You're used to being ALONE.

And you won't understand... And can't you see
It's easier for you, without me - ONE.

Epiphora in its pure form, it is used less frequently than anaphora, but in a weakened version (parallelism of synonyms or grammatical forms) - much more often.

Epiphora how the figure is opposite anaphora, in combination with which forms a new figure - simplock.

Parallelism is close to these figures - the same syntactic construction of segments of speech.

PARALLELISM(from Greek - going side by side, parallel) - a compositional technique that emphasizes the structural connection of two (usually) or three elements of style in work of art; the connection of these elements lies in the fact that they are located in parallel in two or three adjacent phrases, verses, stanzas, due to which their commonality is revealed.

Modern poetics established the following types of parallelism:

1. Syntactic parallelism , the most common, is that adjacent verses follow the same sentence structure.

For example:
Waves crash in the blue sea
AT blue sky the stars are shining.
(A. Pushkin)

And, devoted to new passions,
I could not stop loving him;
So temple left - all the temple,
Defeated idol - everything is god!
(M. Lermontov)

The bright wind subsides
A gray evening is coming,
The raven has sunk into the pine tree,
Touched a sleep string.
(A. Blok)

When horses die, they breathe
When grasses die, they dry
When the suns die, they go out
When people die, they sing songs.
(V. Khlebnikov)

Green fish came to me
A white seagull flew to me!
(A. Akhmatova)

Candles flared up like a wave of light.
Thoughts were stirred up in a dark wave.
(M. Tsvetaeva.)

I don't know where the border is
Between North and South
I don't know where the border is
Between friend and friend...
...I don't know where the border is
Between fire and smoke
I don't know where the border is
Between a friend and a loved one.
(M. Svetlov)

Diamond polished by diamond
The string is dictated by the string.
(S. Podelkov)

Two immortality near the Volga -
mouth and source.
The soldier has two worries -
West and East!
Two hopes in the trees -
autumn and spring.
A soldier has two worries -
gun and war...
(A. Nedogonov)

Syntax parallelism contributes to the rhythm of speech and performs an amplifying-excretory function in the text. It can be supported by lexical repetition, the use of words of the same lexico-semantic or thematic group.

For example:
The moon is high.
The frosts are high.
Distant carts creak.
And it seems that we hear
Arkhangelsk silence.
(I. Severyanin.)

Syntax parallelism as a stylistic device often found in the works of oral folk art in the form of an analogy, a convergence of phenomena (for example, natural phenomena and human life).
It is not the wind that bends the branch,
It's not the oak tree that makes noise.
That my heart is groaning,
Like an autumn leaf trembles.
(Russian folk song).

2. Strophic parallelism consists in the fact that in adjacent stanzas of the poem the same syntactic, and sometimes lexical construction is repeated:
You carry grief - you think
How to get off your shoulders
Where to leave it
Where to leave it.
You bring happiness - you think
How not to stumble with him,
No matter how it breaks
Who wouldn't take it.
(V. Tushnova)

M. Lermontov's poem " Sail»:
A lonely sail turns white
In the blue mist of the sea.
What is he looking for in a distant country?
What did he throw in his native land?
The waves are playing, the wind is whistling,
And the mast bends and creaks...
Alas, he not looking for happiness
And not from happiness runs!
Under it, a stream of lighter azure,
Above him is a golden ray of sunshine.
And he, rebellious, asks for a storm,
As if there is peace in the storm!

3. Rhythmic parallelism expressed in the fact that the motives of the poem are emphasized by the corresponding repetition of the rhythmic pattern.

For example:
The garden is in bloom
Evening on fire,
So refreshing-joyful to me!
Here I stand
Here I go,
Like a mysterious speech I'm waiting for.
This dawn
This spring
So incomprehensible, but so clear!
Is it full of happiness
Do I cry
You are my blessed secret.
(A.A. Fet)

4. Apart from direct parallelism , found in poetry negative parallelism , consisting in the fact that the first term of the parallel is given with negative particle « not". This form of parallelism is especially common in folk poetry, and it is not uncommon in author's poems.

For example:
Not the cold winds rustle,
Not the sands run quicksand, –
The grief rises again
Like an evil black cloud.

It is not the wind that rages over the forest,
Streams did not run from the mountains,
Frost-voivode patrol
Bypasses his possessions.
(N. Nekrasov)

LEXICAL REPETITIONS repetition of the same word or phrase.

For example:

And so my mother cooked three lunches, three breakfasts and three dinners for three days and showed the boys how to warm them up.(E. Schwartz)

By repeating a word in a text stands out key concept . Therefore, it is not always necessary to remove lexical repetitions from speech.

In some cases this is impossible, in others it will be an unnecessary impoverishment, discoloration of speech.

Several cognate words in a sentence are stylistically justified even if related words are the only carriers of the corresponding meanings and cannot be replaced by synonyms.

Lexical repetitions can also be used as a means of humor. In a parody text, a pile of identical words reflects the comic nature of the situation being described.

1) Express yourself without expressing yourself !

2) It seemed that I wanted to, but it turned out I wanted to, because it seemed;

3) It is very important to know how to behave in society. If inviting a lady on dance, you stepped on her foot and she pretended not to notice, as she noticed, but pretended not to notice.

In artistic speech, verbal repetitions can perform different stylistic functions. This must be taken into account when giving a stylistic assessment of the use of the word in the text.

SIMPLOCA(Greek - plexus) is a figure of syntactic parallelism in adjacent verses, which a) have the same beginning and end with a different middle and b) vice versa - different beginning and end with the same middle.

Samples simplocks the first type are more common in folk poetry.

For example:
There was a birch tree in the field,
Curly stood in the field.
(Folk song)

There was a feast, an honorable feast,
There was a canteen, an honorary table.
(Russian epic)

Very rare simplock of the first kind in original poetry.

For example:
Always and everywhere
two go like this
And they think
The whole universe is here.
Everything - just reach out your hand - everything is here.
Everything - just take a closer look - everything is here.
Everything - just hug it tighter - everything is here.
And the nightingales sing
And kiss
And the crunch of footsteps in the forest...
(V. Lugovskoy)

What are you, my song
Are you silent?
What are you, my fairy tale,
Are you silent?
(P. Vasiliev)

Examples simplocks of the second kind :
We have a road for young people everywhere,
Elders are respected everywhere.
(V. Lebedev-Kumach)

I love the sea with ships
I love the sky with cranes.
(V. Bokov)

I hate all kinds of dead things!
I love all life!
(V. Mayakovsky)

Simploku, at first glance, is easily confused with concurrency. However, this is only true at first glance, because in fact simplock has little to do with concurrency. At concurrency the constructions themselves are repeated (and completely, exactly), and not the words: words in parallel structures are always different. As for simploki, words are reproduced with its help, and only therefore, as a result, constructions are reproduced.

Epiphora- this is one of the most common stylistic figures, which is expressed in the repetition of the same words or combinations of words at the end of an adjacent shade of speech.

From the point of view of syntax, epiphora is a kind of parallel constructions. Epiphora itself is used less often than just parallelism. It is the opposite of such a figure of speech as anaphora.

Examples of epiphora from fiction.

Most often, epiphora is most often used in poetic constructions.

"Dear friend, and in this quiet house
The fever hits me.
Can't find me a place in a quiet house
Near peaceful fire!”
(A. Blok)

But you can find examples of the use of this technique in prose. The use of repetitions of episodes, phrases are used by the authors to give additional significance to which episode and to reveal the state of mind of the hero. For example:

“Scallops, all scallops: scalloped cape, scalloped sleeves, scalloped epaulettes, scalloped bottoms, scalloped everywhere.” (N. Gogol)

The peculiarity of the influence of lexical repetitions was noticed by Cicero and successfully used this technique in his treatises.

Types of epiphora.

Epiphora is stylistic device, which has several varieties:

A grammatical epiphora consists in the use of word forms or sound sequences at the end of adjacent lines. This technique is often used in children's poems:

"The sharp look of an owl,
He sees the trail of an animal.
Owl's thin ear
Hears the squeak of a mouse.
(I. Baty)

Lexical epiphora is the repetition of words at the end of a speech segment. The most famous example of this type of epiphora is in A. Pushkin's poem "Keep me my talisman."
An example of a rhetorical epiphora can be found in Russian folk and children's songs. One of the most famous children's songs with a rhetorical epiphora: "One is gray, the other is white, two merry geese." The use of the first quatrain in the conclusion of several stanzas in its pure form or with some lexical changes is also an example of rhetorical rhyme.

Where is epiphora used in literature?

Epiphora can be found in folklore texts or in works that the author tries to bring stylistically closer to them.

The most famous use of epiphora is found in the play by Alexander Gladkov, which became the basis of the feature film "The Hussar Ballad":

Another swears by passionate passion,
But when wine is drunk
All his passion is at the bottom of the bottle...
Long time ago... Long time ago...

Lovers knee-deep sea,
I'm with them in this at the same time,
But treason guards all ...
Long time ago... Long time ago