The ministry of higher and secondary special education of the republic of uzbekistan termiz state university the faculty of foreign philology the department of foreign language teaching methdology course work theme

4. Metonymy & Synecdoche
Metonymy and synecdoche are very similar poetic devices, so we’ll include them as one item. A metonymy is when the writer replaces “a part for a part,” choosing one noun to describe a different noun. For example, in the phrase “the pen is mightier than the sword,” the pen is a metonymy for writing and the sword is a metonymy for fighting.
Metonymy: a part for a part.
In this sense, metonymy is very similar to symbolism, because the pen represents the idea of writing. The difference is, a pen is directly related to writing, whereas symbols are not always related to the concepts they represent. A dove might symbolize peace, but doves, in reality, have very little to do with peace.
Synecdoche is a form of metonymy, but instead of “a part for a part,” the writer substitutes “a part for a whole.” In other words, they represent an object with only a distinct part of the object. If I described your car as “a nice set of wheels,” then I’m using synecdoche to refer to your car. I’m also using synecdoche if I call your laptop an “overpriced sound system.”
Synecdoche: a part for a whole.
Since metonymy and synecdoche are forms of symbolism, they appear regularly in poetry both contemporary and classic. Take, for example, this passage from Shakespeare’s A Midsommar Night’s Dream:
And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.
Shakespeare makes it seem like the poet’s pen gives shape to airy wonderings, when in fact it’s the poet’s imagination. Thus, the pen becomes metonymous for the magic of poetry—quite a lofty comparison which only a bard like Shakespeare could say.
5. Enjambment & End-Stopped Lines
Poets have something at their disposal which prose writers don’t: the mighty line break. Line breaks and stanza breaks help guide the reader through the poem, and while these might not be hardline “literary devices in poetry,” they’re important to understanding the strategies of poetry writing.
Line breaks can be one of two things: enjambed or end-stopped. End-stopped lines are lines which end on a period or on a natural break in the sentence. Enjambment, by contrast, refers to a line break that interrupts the flow of a sentence: either the line usually doesn’t end with punctuation, and the thought continues on the next line.
Most of the poem’s lines are enjambed, using very few end-stops, perhaps to mirror the endless weight of midsummer. Suddenly, the poem shifts to end-stops at the end, and the mood of the poem transitions: suddenly the poem is final, concrete in its horror, horrifying perhaps for its sincerity and surprising shift in tone.
Line breaks and stanza breaks help guide the reader through the poem.
Enjambment and end-stopping are ways of reflecting and refracting the poem’s mood. Spend time in your own poetry determining how the mood of your poems shift and transform, and consider using this poetry writing strategy to reflect that.