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

6. Zeugma
Zeugma (pronounced: zoyg-muh) is a fun little device you don’t see often in contemporary poetry—it was much more common in ancient Greek and Latin poetry, such as the poetry of Ovid. This might not be an “essential” device, but if you use it on your own poetry, you’ll stand out for your mastery of language and unique stylistic choices.
A zeugma occurs when one verb is used to mean two different things for two different objects. For example, I might say “He ate some pasta, and my heart out.” To eat pasta and eat someone’s heart out are two very different definitions for ate: one consumption is physical, the other is conceptual. The key here is to only use “ate” once in the sentence, as a zeugma should surprise the reader.
Now, take this excerpt from Ovid’s Heroides 7:
You are then resolved to depart, and abandon unhappy Dido;
the same winds will bear away your promises and sails.
You are resolved, Aeneas, to weigh your anchor and your vows,
and go in quest of Italy, a land to which you are wholly a stranger.
Can you identify the zeugmas? “Bear” and “weigh” are both used literally and figuratively, bearing weight to the speaker’s laments.

Zeugmas are a largely classical device, because the constraints of ancient poetic meter were quite strict, and the economic nature of Latin encouraged the use of zeugma. Nonetheless, try using it in your own poetry—you might surprise yourself!

7. Repetition
Strategic repetition of certain phrases can reinforce the core of your poem.
Last but not least among the topliterary devices in poetry, repetition is key. We’ve already seen repetition in some of the aforementioned poetic devices, like anaphora and conceit. Still, repetition deserves its own special mention.
Strategic repetition of certain phrases can reinforce the core of your poem. In fact, some poetry forms require repetition, such as the villanelle. In a villanelle, the first line must be repeated in lines 6, 12, and 18; the third line must be repeated in lines 9, 15, and 19.
See this repetition in action in Sylvia Plath’s “Mad Girl’s Love Song.” Notice how the two repeated lines reinforce the subjects of both love and madness—perhaps finding them indistinguishable? Take note of this masterful repetition, and see where you can strategically repeat lines in your own poetry, too.
Sound Devices in Poetry
The other half of this article analyzes the different sound devices in poetry. These poetic sound devices are primarily concerned with the musicality of language, and they are powerful poetic devices for altering the poem’s mood and emotion—often in subtle, surprising ways.
What are sound devices in poetry, and how do you use them? Let’s explore these other literary devices in poetry, with examples.