trope

n.

1. A figure of speech using words in nonliteral ways, such as a metaphor.
2. A word or phrase interpolated as an embellishment in the sung parts of certain medieval liturgies.

[Latin tropus, from Greek tropos, turn, figure of speech.]

tropical trop'i·cal (trō'pĭ-kəl) adj.

A figurative or metaphorical turn of phrase, used in social constructions of gender, race, imperialism, and so on.

A piece of music, in the Middle Ages, complementary to plainchant. It may take the form of an introduction to a Gregorian chant, or a series of such introductions, one for the chant as a whole and others for its sections. It could also be a series of interpolations in a chant, consisting of music with or without words; further it may mean a substitute for a chant, conveying the same meaning as the chant and occupying the same liturgical position. Adding a trope to a chant is called ‘troping’.

The practice of troping is almost as old as the development of the chants the tropes complement. The Sequence can be regarded as an early example of the troping of the jubilus of the alleluia (though it subsequently enjoyed an independent existence, not generally found with tropes). Central to introductory tropes is the text of the liturgical chant that is being introduced: a trope would highlight aspects of the text, often making it more dramatic, and at the same time it served as an invitation to join in the main chant. In the trope MSS of the 10th and 11th centuries, there are introductory tropes for the introit, offertory and communion, and also for chants other than those of the Mass Proper (for example the Gloria). Tropes for the introit work their text around that of the introit itself and its presentation of the theme for the liturgy of the day; it may form a simple introduction or be a dialogue (an important example of this is the Easter Quem queritis, which contributed to the development of liturgical drama). The idea of dialogue is inherent to the trope: it was generally sung by the cantor, the choir responding with the actual introit. Trope texts are often made up of phrases borrowed from the Bible, like those of many Gregorian chants. Introit tropes show a wide range of styles. There are a few examples of Kyrie tropes, though more commonly these melismatic melodies are set syllabically with Latin prosulae. The short phrases of the Gloria, however, allow for troping at various points, notably at ‘Laus tua Deus’; the Gloria trope Spiritus et alme became very popular from the 13th century onwards. In the Sanctus, which is already preceded by the Preface, introductory tropes are rare and troping usually begins after the first word. Tropes are found for the Agnus Dei.

While all these tropes serve the function of interpreting the liturgical texts, melismatic tropes - purely musical melismas inserted into existing works - clearly had a different purpose. The practice may go back to the 9th century, although they are commonly found in MSS only from the 12th. They appear most often in connection with Office responsories in the final section of the chant that returns as a refrain after the verse. The term ‘substitute trope’ is used for liturgical texts that have been paraphrased and set to music; in the troped office, texts are included that are not normally troped elsewhere, such as the Creed or the epistle.

The term ‘troper’ is used for an MS containing a significant number of tropes; a troper from a particular church is usually dependent on the same church's gradual for its musical and textual qualities.

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trope, a figure of speech, especially one that uses words in senses beyond their literal meanings. The theory of rhetoric has involved several disputed attempts to clarify the distinction between tropes (or ‘figures of thought’) and schemes (or ‘figures of speech’). The most generally agreed distinction in modern theory is that tropes change the meanings of words, by a ‘turn’ of sense, whereas schemes merely rearrange their normal order. The major figures that are agreed upon as being tropes are metaphor, simile, metonymy, synecdoche, irony, personification, and hyperbole; litotes and periphrasis are also sometimes called tropes. The figurative sense of a word is sometimes called its tropological sense, tropology being the study of tropes—and especially of the spiritual meanings concealed behind the literal meanings of religious scriptures (see typology). In a second sense, the term was applied in the Middle Ages to certain additional passages introduced into church services. The most important of these, the quem quaeritis trope in the Easter Introit, is thought to have been the origin of liturgical drama.

Adjective: tropical.

1. In classical philosophy a particular kind of argument, as the ten tropes of Aenesidemus.

2. In a usage following work of D. C. Williams (1899-1983), a trope is the instantiation of a universal at a place and time, an ‘abstract particular’, such as ‘the blue of this cup’ that some regard as fundamental to ontology.

a figure of speech

The intentional use of a word or expression figuratively, i.e., used in a different sense from its original significance in order to give vividness or emphasis to an idea. Some important types of trope are: antonomasia, irony, metaphor, metonymy and synecdoche.

Dansk (Danish)
n. - billedligt udtrykt

Nederlands (Dutch)
figuurlijke uitdrukking

Français (French)
n. - trope

Deutsch (German)
n. - Trope, bildlicher Ausdruck

Ελληνική (Greek)
n. - τρόπος, (ρητορική) τροπή

Italiano (Italian)
tropo

Português (Portuguese)
n. - tropo (m) (Ret.)

Русский (Russian)
троп, переходный смысл

Español (Spanish)
n. - tropo

Svenska (Swedish)
n. - trop (språkvet.), bildligt uttryck, poetisk bild

中文（简体）(Chinese (Simplified))
修辞, 比喻

中文（繁體）(Chinese (Traditional))
n. - 修辭, 比喻

한국어 (Korean)
n. - 문채, 비유, 항목의 제명

日本語 (Japanese)
n. - 言葉のあや, 比喩的に使った語句

العربيه (Arabic)
‏(الاسم) كلمه او عبارة مجازيه, المجاز‏

עברית (Hebrew)
n. - ‮ביטוי ציורי, דימוי, שימוש אירוני במילה‬

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