Synaesthesia (rhetorical device)

Synaesthesia is a rhetorical device or figure of speech where one sense is described in terms of another.^[1] This may often take the form of a simile.^[2] One can distinguish the literary joining of terms derived from the vocabularies of sensory domains from synaesthesia as a neuropsychological phenomenon.^[3]

It has been suggested that, in the tradition of Romantic poetry, the sensory transfer consisting in the synaesthesic metaphor tends to be from a lower (less differentiated) sense to a higher sense. In this respect, the sequence of senses from low to high is generally taken to be touch, taste, smell, sound, then sight.^[4] This observation was named a panchronistic tendency by Stephen Ullmann since he saw the lowest levels of sense having the poorest vocabulary.^[4] Upwards transfers are thought to have strong emotional effects, but downwards transfers generally witty effects.^[3]

Examples of synaesthesic simile:

• "his words cut the air like a dagger" (Oscar Wilde, The Picture of Dorian Gray)^[2]
• "thy voice is like wine to me" (Oscar Wilde, Salome)^[2]

When a modifier which would normally apply to one sense is used collocating a noun evocative of another sense, this is known as transmodal modification.^[2] Examples include:

• "mauve Hungarian music" (Oscar Wilde, An Ideal Husband)^[2]

When a noun evoking one sense is linked with a predicate evoking another, this is known as transmodal predication.^[2] Examples include:

• "My nostrils see her breath burn like a bush." (Dylan Thomas, When all my Five and Country Senses See)^[2]
• "the silence that dwells in the forest is not so black" (Oscar Wilde, Salome)^[2]

When a linkage of two senses depends upon a pun, this is known as synaesthetic polysemy.^[2] Examples include:

"the hyacinth purple, and white, and blue,
Which flung from its bells a sweet peal anew
Of music"

— Percy Bysshe Shelley, The Sensitive Plant^[2]

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