Contraster

CON-trass-ter

A figure of relativity, the contraster brings in an object of contrast to make a subject look bigger or smaller; more or less important; or more or less ridiculous. Formal rhetoric has many figures that compare and contrast; I combined a raft of them to create the Contraster. The one that comes closest, the syncrisis (SIN-crih-sis), puts contrasts next to each other: “A typist types; a writer stares out windows.” The antanagoge (an-tan-a-GO-gee) balances good and bad in the description of a person or thing: “Yes, he’s stupid, but completely loyal.” The antithesis (an-TIH-the-sis) sticks contrasts together, often in paradoxical ways: “She was both beast and fowl, animal and vegetable.” The enantiosis (en-an-tee-O-sis), or contrarium, uses a contradiction to prove a point: “You couldn’t possibly bring a woman so diet-obsessed to a Taco Bell.” 

Sue Sylvester: You think this is hard? I’m passing a gallstone as we speak. That is hard. Glee

Naturally, classmates started calling me “Quote Boy.” I didn’t mind; a guy on our hall threw up on a dean and earned the name “Booter” for the rest of his life.  Word Hero