Q: What Are the Differences Between Inversion, Hyperbaton, Anastrophe and Hysteron-Proteron?

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Q: What are the differences between inversion, hyperbaton, anastrophe and hysteron-proteron? Explain with examples.

Inversion

Invention is about the discovery of valid or seemingly valid arguments, mainly concerns who, what, when, where, how and why. This is the art of discovering a means for finding arguments on any topic.

E.g.→Clever though/as he was, he could n’t conceal his eagerness of praise.

Among its products are farm machines, and mining equipment.

Inversion is another term for anastrophe.

Anastrophe

Anastrophe is inverted order of words or events as a rhetorical scheme. Anastrophe is specifically a type of hyperbaton in which the adjective appears after the noun when we expect to find the adjective before the noun. For example, Shakespeare speaks of "Figures pedantical" (LLL 5.2.407). Faulkner describes "The old bear . . . not even a mortal but an anachronism indomitable and invincible out of an old dead time." Lewis Carroll uses anastrophe in "Jabberwocky," where we hear, "Long time the manxome foe he sought. / So rested he by the Tumtum tree . . . ." T. S. Eliot writes of "Time present and time past," and so on. Particularly clever anastrophe can become a trope when it alters meaning in unusual ways. For instance, T. S. Eliot writes of "arms that wrap about a shawl" rather than "shawls that wrap about an arm" in "The Love Song of J. Alfred Prufrock." See also hyperbaton. Natalie Dorsch's poem, "Just Because," makes use of extended anastrophe in a clever way to show how delightfully confused the speaker is after a romantic interlude:

I walked up the door,
shut the stairs,
said my shoes,
took off my prayers,
turned off my bed,
got into the light,
all because
you kissed me goodnight.

Here, she makes use of anastrophe in nearly every line.

Alternatively, we can use the term anastrophe as a reference to entire narratives in which the sequence of events are chopped into sections and then "shuffled" or "scrambled" into an unusual narrative order. An example of this type of anastrophe might be the sequence of events in Quentin Tarentino's film Pulp Fiction or Kurt Vonnegut's novel Slaughterhouse Five. Contrast with periodic sentence.

Hyperbaton

Hyperbaton is ageneric term for changing the normal or expected order of words--including anastrophe, tmesis, hypallage, and other figures of speech.

E.g.→"One ad does not a survey make." The term comes from the Greek for "overstepping" because one or more words "overstep" their normal position and appear elsewhere. For instance, Milton in Paradise Lost might write, "High on a throne of royal gold . . . Satan exalted sat." In normal, everyday speech, we would expect to find, "High on a throne of royal gold . . . Satan sat exalted." Here are some other examples:

"Arms and the man I sing"--Virgil.
"This is the sort of English up with which I will not put."--Variously attributed to Winston Churchill or Mark Twain
"I was in my life alone"--Robert Frost
"Constant you are, but yet a woman"--1 Henry IV, 2.3.113
"Grave danger you are in. Impatient you are." --Yoda, in Star Wars II: Attack of the Clones
"From such crooked wood as state which man is made of, nothing straight can be fashioned." --Kant
"pity this busy monster manunkind not." --e. e. cummings.

Hyperbaton is an example of a rhetorical scheme. Click on the scheme link to see the various subtypes.

Hysteron-proteron

hysteron-proteron is Using anastrophe in a way that creates a catachresis (see under tropes), an impossible ordering on the literal level.

E.g.→Virgil has the despairing Trojans in the Aeneid cry out in despair as the city falls, "Let us die, and rush into the heart of the fight." Of course, the expected, possible order would be to "rush into the heart of the fight," and then "die." Literally, Virgil's sequence would be impossible unless all the troops died, then rose up as zombies and ran off to fight. In Antony and Cleopatra, Shakespeare writes, "I can behold no longer / Th'Antoniad, the Egyptian admiral, / With all their sixty, fly and turn the rudder" (3.10.1). We would expect to turn the rudder and then flee, not flee and then turn the rudder! See also anastrophe and catachresis.