Shakespeare amplifies grief in Hamlet: “
I loved Ophelia. Forty thousand brothers / Could not, with all their quantity of love, / Make up my sum”; Milton’s Paradise Lost amplifies Satan’s fall: “Hurled headlong flaming from the ethereal sky”; In “
Ode to a Nightingale,”
Keats amplifies sensory experience: “Tasting of Flora and the country
green, /
Dance, and Provençal song, and sunburnt
mirth!”;
Whitman’s “Song of
Myself” uses amplification to encompass
multitudes: “I contain multitudes”; In
John Milton’s “Paradise Lost,” Book I, Satan’s speech is amplified through extended metaphors and rhetorical elaboration to heighten his tragic grandeur; Modern example: “Her sorrow wasn’t just tears—it was oceans, earthquakes, collapsed stars.”
Shakespeare’s “Richard II” uses amplificatio
in the garden scene: “Go bind thou up yon dangling apricots…” where pruning becomes metaphor for kingship; Cicero’s rhetorical style, echoed in Milton’s “Lycidas,” expands grief through layered pastoral
imagery; In “Paradise Lost,” Milton elaborates Satan’s fall with repeated epithets and extended similes;
Gerard Manley Hopkins’ “
The Windhover” amplifies a falcon’s
flight into spiritual revelation through dense description.