Anemographia

The first three sections of the poem are an exercise in the classical mode of anemographia (description of the wind).

I think it safe to conclude that Poe's prose suggests a fondness for parallel structure, sometimes antithetical. I have also catalogued nearly two dozen devices of description, from anemographia to triplets adjectival and adverbial, and conclude that Poe is a highly descriptive writer.

The well-known inscription in the Vatican Torre dei Venti of the late 1570's, inspired by the anemographia of the Dominican astronomer Ignazio Danti, is a testimony, amongst several, of the not so good reputation of the peoples of the North Wind in the Eternal city, not rarely in the past a victim of their furor nordicus and of their heresies threatening to rock the boat of orthodoxy, "quella Santissima navicella."

Although it is tempting to look at colour in terms of each energia in turn (what could be said about a chromatic analysis of anemographia? ) for our purposes here, we will continue to focus on the temporal and spatial planes that articulate the figural cadences created by syncrisis.

An analogous focus upon good continuation is to be found in the many forms of enargia or figures of description recorded by rhetoricians, such as anemographia (of wind), astrotesia (of stars), characterismus (of personality), chorographia (of nations), chronographia (of time), dendrographia (of trees), etc.