Amidst the numerous approaches of anaphora, the poetic principle of this configuration has hitherto not received the careful consideration it deserves. In a preliminary assessment we acknowledge the special status of polysemic features, reiterated in a phraseological texture, by means of various anaphoric framings. As we scrutinize meronymic relations, the sensual imagery of Apollinaire’s Poèmes à Lou counterbalances the abstract disrupted relations set up by Mallarmé in the scenery of Brise marine. Another section deals with the interplay of pronouns, skylfully adjusted by Propertius and Ovid. We give afterwards the outline of a gradual typology, beginning with the ressumptive anaphora and culminating with a reevaluation of various figurae in verbis coniunctis (such as patterns of cataphora and the epiphoric effect, geminatio, epanaphora and anadiplosis). Conclusive statements take into account the anaphoric emblems of Time and Duration, which emerge as a central configuration in Eliot’s Four Quartets.
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