a sentence that is an exclamation, a general or striking comment, or a succinct summary of what has previously been said.
In classical rhetoric, epiphonema is a term for an exclamation or reflection that strikingly sums up a previous passage or discourse—a kind of moral of the story. It comes via Latin epiphōnēma from Greek epiphṓnēma “a witty saying,” from epiphōneîn “to mention by name, call out, address,” composed of a prefixal use of the preposition epí “upon, on” and phōneîn “to make a sound.” Phōneîn is derived from phonḗ “sound, tone, voice,” ultimately seen in a variety of English words, such as Anglophone, microphone, phonetics, phonology, polyphony, and (tele)phone. Oh, what euphonious words derive from ancient Greek!
To round off his argument, Montaigne reaches for an epiphonema … “Oh, what a sweet and soft and healthy pillow is ignorance and incuriosity, to rest a well-made head!”
When the Great Teacher wished to recall or rouse attention he employed an epiphonema, saying, “He that hath ears to hear, let him hear,” “Verily, verily, I say unto you,” “Hearken unto me every one of you.”
a person who preys on others; extortioner.
Caterpillar has a complicated history. Late Middle English has catyrpel, catirpiller (and other variants). These are probably alterations of catepelose, an Old North French variant of Old French chatepelose “hairy cat,” from chate “(female) cat,” from Late Latin cattus (masculine) and catta (feminine) “cat” and pelose, pelouse “hairy,” from Latin pilōsus. The Middle English spelling with –yr– is probably due to association with cater “tomcat” (as in caterwaul “to utter long, wailing cries”); the final –er is probably by association with piller “despoiler.” Caterpillar in its original sense “larva of a butterfly or moth” entered English in the 15th century; the sense “extortioner” arose in the late 15th century; the sense “a tractor with two endless steel bands for moving over rough terrain” is a trademark dating from the early years of the 20th century, just in time for World War I.
The caterpillars of the commonwealth, / Which I have sworn to weed and pluck away.
By dismissing the Hanoverians … we shall only send away the caterpillars which devour our victuals …
(sometimes initial capital letter)
the style and techniques of a group of artists, writers, etc., of the early 20th century who exploited accidental and incongruous effects in their work and who programmatically challenged established canons of art, thought, morality, etc.
Despite how it sounds, Dada has nothing to do with dads or Father’s Day. It is a reduplication of the familiar, universal baby syllable da, a French reduplication, specifically, chosen as an arbitrary name for the French and German art movement founded in Zurich in 1916, in the middle of World War I, by a group of multinational and multilingual writers, artists, and composers. According to two of Dada’s founders, the word was chosen at random from dada, a headword in a French dictionary, meaning, in baby talk, “horse, hobbyhorse.” The founders were also attracted by the meaninglessness of the two syllables.
In terms of art, Dada could be said to have had the most wide-ranging post-war impact, a fact which is paradoxical given Dada‘s anti-art inclinations.
… Scramsfield had manufactured enough Dada poetry to fill up the rest of the magazine by copying out random sections of a boiler repair manual into irregular stanzas, knowing that this should be sufficiently confusing to satisfy his patron …
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