Throughout the passage, the speaker directly addresses the storm.  An aphorism is a pithy saying or adage (e.g. “a bird in the hand is worth two in the bush”). Allegory is the use of a story or extended metaphor to make a philosophical or moral point (e.g. George Orwell’s Animal Farm). Stream of consciousness is a style of writing designed to mimic the free-flowing thoughts of someone’s inner consciousness. Sarcasm is verbal irony and is often cutting or satirical.

Passage adapted from William Shakespeare’s King Lear (1606)

Line 9 contains an inversion of ordinary word order. Instead of saying “that makes man ingrateful,” the passage has reversed the typical word order. The technical term for this inversion is anastrophe, and it is often used for emphasis or metrical effect.

Passage adapted from William Shakespeare’s King Lear (1606)

In lines 1-2, we have a frequent repetition of the hard “k” sound. Specifically, we have “crack,” “cheeks,” “cataracts,” and “hurricanes.” This is an example of consonance, the repetition of consonant sounds.

Passage adapted from William Shakespeare’s King Lear (1606)

This is anthimeria the use of one part of speech (in this case, “to clamor,” a verb) in place of another (in this case “clamours,” a noun), usually to create an apropos new word. A loan word is a word adopted into the vocabulary of another language without translation (e.g. café or bon mot from the French). Colloquialism is the use of an informal, conversational, or regional bit of speech (e.g. “y’all” for “you all”). A contraction is a different part of speech, as is an interjection.

Passage adapted from William Shakespeare’s Troilus and Cressida (1602).

“And in my vantbrace put this wither’d brawn” represents an inversion of the usual word order: anastrophe. Anthimeria is the use of one part of speech in place of another (e.g. “gift someone a sweater,” with “gift” used as a verb instead of a noun), often to create an apropos new word. Assonance is the repetition of vowel sounds (e.g. Edgar Allan Poe’s “the mellow wedding bells”). Caesura refers to a dramatic pause in a sentence or line of poetry, often accomplished by use of an em dash.

Passage adapted from William Shakespeare’s Troilus and Cressida (1602).

In the line “Therefore 'tis meet Achilles meet not Hector,” we have “meet” used in two different senses. In the first case, “meet” (adj) means “advisable”; in the second, “meet” (verb) has the traditional definition, “encounter.” This double usage of the same word is an example of antanaclasis.

Passage adapted from William Shakespeare’s Troilus and Cressida (1602).

In order to fit a fixed rhyme scheme and meter, the playwright has relied heavily on anastrophe, the intentional inversion of word order. An aside is a lengthy speech delivered to or for the benefit of the audience and not the other characters, while an anecdote is a short, often humorous story. Epiphany is a sudden realization that changes someone's life, and is often experienced by a character at the end of a short story. Litotes is the deliberate use of understatement or double negatives, the opposite of hyperbole.

Passage adapted from Ben Jonson’s Volpone (1606)

In the line “And then dreams he of smelling out a suit,” we see the inversion of the normal subject-verb order (“he dreams”) to the unusual verb-subject order (“dreams he”). This is the definition of anastrophe. Anaphora is the repetition of the beginning of a clause, while epistrophe is the repetition of the end of a clause at the end of several clauses in a row (e.g. “I like strawberry ice cream, I buy chocolate ice cream, I eat all kinds of ice cream”). Apostrophe, on the other hand, is a direct address to the reader (e.g. Herman Melville’s “Call me Ishmael”). Ellipsis is the deliberate omission of one or more words for the purpose of concision; it is sometimes marked with “…” but sometimes not.

Passage adapted from William Shakespeare’s Tragedy of Romeo and Juliet (1597)

In lines 5-6, we have the use of clauses with identical grammatical patterns, syntax, or meter (e.g. “She expected nothing, hoped for everything, and received something”). Parenthetical speech would be an aside, a remark set off by parentheses, em dashes, or other punctuation. Asyndeton denotes a lack of conjunction words (e.g. “I came, I saw, I conquered”). Colloquialism is the use of an informal, conversational, or regional bit of speech (e.g. “y’all” for “you all”). Apostrophe is a direct address to the reader (e.g. Herman Melville’s “Call me Ishmael”).

Passage adapted from William Shakespeare’s The Tragedy of Hamlet Prince of Denmark. (1603)

Rhetorical questions, or questions not designed to be answered literally, are what we see in lines 12-13. Imperative voice is the use of commands, and a cliché is a phrase that’s become trite or worn out from overuse (e.g. “fast as lightning”). Ellipsis is the deliberate omission of one or more words for the purpose of concision; it is sometimes marked with “…” but sometimes not. Antithesis is a contrast or direct opposite to something.

Passage adapted from William Shakespeare’s The Tragedy of Hamlet Prince of Denmark. (1603)