One of the unique rhetorical occurrences that almost everyone will encounter at some point in their lives is the eulogy. Even though eulogies are among the most common rituals in human history, there is a lack of understanding of death rituals, as seen by the recent interest in the topic of death and dying. Therefore, it would appear that academics have a stake in learning more about a field that is so important to society [1]. 

This "face-value" argument, however, is fallacious; just because something is commonplace does not imply that it merits serious examination: Consider McDonald's, a practically worldwide phenomenon that, while interesting to some economists or business experts, is not as interesting to rhetorical scholars or food critics (ibid). 

But the eulogy is not just for "face value"; it is a rhetorical occurrence with additional rhetorical significance. The scant literature on eulogies reveals that it also consists of commonalities of language. Even the most unskilled critic can see that it comprises of commonalities of occasion, audience, and rhetorical limitations [2]. 

Despite the fact that there hasn't been much actual scholarship on eulogies, many genre theorists have included the eulogy apriori as an example of a rhetorical genre. This is because eulogies share common situational and rhetorical characteristics, but there are theoretical reasons for including it as a rhetorical genre worthy of scrutiny (ibid).

Eulogy in English 

The funeral rite is an effort on the part of the living to accept that death is inevitable. On the other hand, some experts in funerary practices contend that there has been a growing shift in American culture away from accepting death. The West's youth- and health-focused society has led to an increasing number of families choosing closed caskets, and this has made it harder for survivors to accept the death of a loved one. 

Many people and communities have superstitious anxieties related to death, and many of these worries stem from their expectations of what awaits them in the afterlife. A result of the "superstition," "fear," and "reverence" that have built up around death, cultures have created funeral customs and rituals for treating (or burial) the deceased. For instance, take into consideration the ornate Egyptian tombs, the burial chambers and mausoleums found in the West, the worldwide custom of burying the dead in the ground, and the widespread use of cremation. 

Funerary rituals and oratory have evolved over the ages as "strategies" for coping with the psychological trauma of death, in addition to procedures for managing the corpses of the deceased. The ancient Greek custom of encomium was characterized by celebratory ceremonies honoring the deceased for their "heroic" deeds. Moreover, since at least the fifth century BCE, a variety of ceremonial practices have been used to both ease the pain of death for the living and to commit the deceased to the hereafter (ibid). 

The funeral speech developed out of the formal laudation or commemoration of those who had fallen in battle for their country," according to the ancient Greek tradition. 

Other societies created unique death rituals connected to their own theological and cultural eschatologies, similar to the Athenian burial ceremonies rooted in Greek superstition. For instance, Douglass mentions how the Spanish Murelaga viewed death as something to be feared rather than as something dignified. Houlbrooke states that "because of the great range of purposes they have been designed to fill in different cultures, funerary rites have long interested both historians and anthropologists" [2]. 

Maintaining power and economic ties has been one of the goals of these rituals. Throughout the Christian church's history, and particularly throughout the Middle Ages, the church attempted to regulate every aspect of the parishioners' life, from the moment of their birth until their passing. 

This historical period's literature and art serve as a reminder of the church's involvement in perpetuating the miseries and inevitability of physical death. 

According to the funerary literature, there are at least three different purposes for funerary rites: 

• A sociopolitical purpose, or a morbid need to "keep up with the Jones," which Houlbrooke alludes to, in which people have tried to "have the most ham and cheese sandwiches," "put on the best show," and "create the most elaborate ceremonies"

• The "task of incorporating the physical remains [of the newly dead] among those of the earlier dead and of aiding the soul in its journey to and inclusion in the community of the dead in the otherworld" is in place of a consoling function

• According to Houlbrooke, "Christianity provided ritual and social support." The atheist found no better way to deal with natural anger, guilt, and despair than the Christian emphasis on atonement and reconciliation. However, Christianity most importantly offered some hope for a final reunion (ibid)

• A eulogizing function that celebrates the achievements of "great" and "obscure" people who deserve recognition, such scientists and political leaders

Additionally, eulogies have been offered for academic practices that have been abandoned. "Burying the Undertaker: A Eulogy for the Eulogists of Rhetorical Epistemology"); for staff members who are retiring rather than passing away; and for rhetorical and comedic purposes, which frequently entail no deaths at all 

Stylistic devices of Eulogy in English 

Eulogy as a process is accomplished through certain strategies and devices. 

Metaphor 

A literary element known as metaphor allows a writer to connect seemingly unrelated concepts that, while they may not literally fit together, can be understood metaphorically as a comparison. The expression "This library is an ocean of knowledge" is an example of a metaphor. It goes without saying that the library is not an ocean, therefore taking the term literally would be absurd [3]. 

But when taken metaphorically, it's evident that the library is likened to the ocean to convey the idea that it feels deep and expansive. If the author had only mentioned the library's size, the metaphor would not have conveyed the library's features as strongly [4].

Simile 

A simile is a rhetorical device in which the author highlights a certain trait that two seemingly unrelated things have in common by drawing attention to how similar they actually are. In general, the use of the words "like" or "as" separates a simile from a metaphor. For example, the line "The class was like a steep mountain" is a simile because the author draws comparisons between the class and a mountain to highlight how taking the class had characteristics similar to climbing a mountain, including being time-consuming and challenging [5]. 

''The tree loomed as tall as a skyscraper,'' is another example of a simile. The tree is compared to a skyscraper in this simile in order to emphasize the way it towers over the viewer (ibid).

Analogy 

An argumentative comparison, or analogy, contrasts two unlike objects in order to make a point. In particular, it makes the case that two things are equally important, regardless of whether that importance is literal, philosophical, or emotional. Analogical literary devices are a type of metaphor because they rely on comparison to function (ibid).

 Imagery 

Literal and figurative imagery both depend on the interaction of language and senses to help you form a clearer mental picture. The use of metaphorical language to describe something is called imagery. The use of metaphorical language to describe something is called imagery [6]. In fact, by referring to the tree as a "god," the reader is given the impression that the tree is massive and solid. This is an example of imagery in action from earlier literary tactics. But the best authors employ imagery to engage all five senses; it's not limited to visual descriptions. Your work will provide readers a vivid world to live in and breathe by appealing to their senses of sight, sound, touch, taste, and smell (ibid).

Symbolism 

Many of the concepts conveyed through metaphor and imagery are combined in symbolism. A symbol is essentially an object used to represent a notion; it's similar to a metaphor but much shorter! The English language is full of symbols, and we frequently employ these well-known literary methods in speech and design without even recognizing it [7].

Mitigation 

The phrase "mitigation" "is not considered as a kind of speech act," according to Fraser [8]. In this sense, mitigating does not entail engaging in a particular illocutionary act, such as making a promise, an apology, or a request. Nor is intended to pull off a ploydery such as shocking and upsetting. 

Yet, there is a strong connection between these two facets of language use and the term mitigation. Being courteous is not the same as mitigation. The degree to which the speaker has behaved appropriately in that situation determines how polite they should be. Conversely, mitigation entails lessening the undesirable outcome of the action taken (ibid). 

Legal, societal, or linguistic mitigation are all possible. Language mitigation is "the strategy of trying to repair linguistically the damage done to someone ‘s face (self-image) by what you say or do" . For instance, if you say, "You're a plonker, but so am I," the threat "to the other person's 'positive' face by suggesting in the second clause that you are both equally silly" is actually reduced in this instance. Saying "I wonder if you could give me a bit of help instead of Help me!" is another excellent example (ibid). 

Metonymy 

Metaphors are based on similarity, but metonymies are based on association. According to Lindquist, metonymies are instances in which we utilize one entity to refer to another to which it is linked. 

According to Lakoff and Johnson, metonymy serves primarily as a referential tool, allowing us to use one entity to refer to another. On the other hand, understanding—or the use of one entity to comprehend another— is the fundamental purpose of metaphor. Lakoff and Johnson note that metonymies are considered to be a natural component of existence and are not just linguistic in nature. This is relevant to metaphors [9]. 

Eulogy in Arabic 

A eulogy is typically performed in front of others and consists of praising and weeping for a deceased person. It can even be performed after his death. Similarly, a eulogy is defined as a celebration that honors the memory of the departed and lists his merits, and it is believed to take place a year after the deceased's passing. The "eulogy" typically consists of remarks given by friends and family as well as a summary of the deceased's good acts [10].

It's a speech honoring the deceased, a sermon delivered in their honor, or an article written in their remembrance. Memorial service: A service typically performed to honor the life of a well-known member of the community. 

Eulogies are prepared to emphasize significant moments in the life of the departed. It is an exaltation of the human soul to comprehend the life of a great man who has illuminated the world and embodied his century. This is one way that a well-written eulogy can inspire and console the poem's benefactor while also creating a bond with them. In the Arabic world, it is customary to be requested to give a brief eulogy a few nice words about the deceased on stage at the funeral [4]. Examine this eulogy: "Therefore, let us rejoice in his passing rather than lament it. But those who seem a touch too joyful will be asked to leave. 

The abundance of language devices in eulogies is the primary indicator of their over-sensitization. Metonymy is a linguistic strategy that is used to improve imagined emphasis on concrete objects, among other things, and to make the language more eloquent and rhetorical. Furthermore, these linguistic strategies are used to affect the feelings and ideas of the audience (ibid). 

In Arabic, eulogies are given to people who belong to a specific social class, not to everyone. Following the funeral, they conclude a few rituals that take place over the course of at least three days (ibid).

Stylistic devices of eulogy in Arabic 

Eulogy in Arabic is performed through the same stylistic devices of eulogy in English. Metaphor, simile, analogy, imagery, symbolism, metonymy and mitigation are all found in Arabic eulogy. 

Model of analysis 

The study has developed the following model:

Data collection and description 

The data scrutinized in this study are 10 English eulogies and 10 Arabic eulogies taken from the western and eastern cultures. They are short as compared with other types of texts. The theme of these eulogies are the good merits of the dead person. The study makes an overall analysis for 20 cases of eulogies in both languages and makes a detailed analysis of 8 cases to show how analysis is carried on. 

Analysis of eulogy in English texts 

Text One: Yesterday, our beloved brother and fellow worker, Dr. Hamilton Niss, was laid to rest at the Washington Park North Cemetery. The funeral home was filled to overflowing with friends, family, and Baha'is from all over Indiana. The funeral home just let the crowd overflow into the hall as more people kept coming in. He was the sun in the darkness. His scientific mind affected the flow of science in the country. 

Analysis 

The text above is an example of English eulogy. It is full of stylistic devices. The first device used by the speaker is metaphor. The speaker uses metaphor when he says “was laid to rest” instead of “he died”. The speaker uses simile when he says “he was the sun in the darkness”. He also uses imagery when he refers to the dead person as being the sun. He also uses the image of darkness and the people who were filling the funeral home. 

Figure 1: Stylistic Devices in English and Arabic Eulogies

Text Two 

The funeral was beautiful and featured a message and flower arrangement from the National Assembly honoring Ham's decades of devoted Baha'i service, an audio tape of an interview with Ham conducted by Barb Qualls, stories of Ham's early years by his sister Happy, and a beautiful selection of prayers and readings. Ham's grandchildren, Helena and Jennifer, had created a display featuring some old photos of Ham as a baby and teenager. He was our white dove. 

He liked peace to be everywhere.

Analysis 

The speaker uses several stylistic devices here. The most frequent device used in this text is imagery. The whole text is designed in the form of images. The speaker also makes an analogy between the past and the present. The speaker also uses symbolism when he says: “He was our white dove. He liked peace to be everywhere”. Mitigation is also clear in the above text. Mitigation comprises a reduction in the unwelcome effect of what is done. So the speaker tries to reduce the sad effect of this event. 

Text Three 

"It‟s our painful duty to announce the death of EDWARD HACKETT, Esq., Mayor of Cork, which took place at his residence …From where he started to where he ended up with the journey so vast and incredible it‟s too much for me to hope to emulate…” …."Previous to his departure he complained of slight illness, which immediately on his arrival at Bristol, eventuated in malignant fever, by which he was carried off in the prime of life". Edward was as kind as mothers, as happy as a child. He was a flower in the garden of kindness. 

Analysis 

The text above is full of mitigation. The speaker tries to reduce the sadness of the audience in the text above. The speaker uses simile when he says: 

“Edward was as kind as mothers, as happy as a child”. The speaker also uses metaphor when he says “He was a flower in the garden of kindness”. Imagery is used three times in this text the first is when the speaker refers to the mother, the second when he refers to the child and the third image is that of the flower in the garden. 

Text Four 

Great men and eminent men have monuments in bronze and marble set up for them, but this man of divine fire managed in his lifetime to become enshrined in millions and millions of hearts so that all of us became somewhat of the stuff that he was made of, though to an infinitely lesser degree. 

Analysis 

Given that, the phrase (all of us) represents the speakers and the hearers at the same time, we have here a kind of nonspecification in referring to both the speakers and the hearers, however, this is due to the intention of the speaker to mitigate the results of becoming without the leadership of Gandhi by making generality. Thus, by using the hedge (though to an infinitely lesser degree), the speaker has mitigated the threat to the other person‘s 'negative faced' in indirect way.

Analysis of Eulogy in Arabic texts 

Text 1. 

 ) یا أیتھا النفس المطمئنة ارجعي إلى ربك راضیة مرضیة فادخلي في عبادي وادخلي جنتي. ( 

الإنسان النافع الجاد المعطاء في حیاتھ تجربة غنیة، ثم یتحول إذ یموت إلى قیمة إیجابیة، وھكذا كان أسامة في حیاتھ، وھكذا أضحى أسامة بعد مماتھ؛ أما غنى التجربة فتتجلى في تعدد ممارساتھ الحیاتیة، وتنوع مھامھ العملیة، فمن محامٍ إلى مدیر إلى كاتب إلى شاعر إلى صدیق إلى أخ إلى... 

وأما إیجابیة قیمتھ بعد وفاتھ فسَلْ كل من عرف أسامة ینبیك عن شيء جمیل من أسامة أودع فیھ ولا توفر - وأنت تسأل - قاصیا ً أو دانیاً، صغیرا ً أو كبیراً، قریب اً أو غریباً، صدیق اً أو عدواً، فأسامة لدى كل ھؤلاء منظومة خیرة، فیھا ما فیھا من حبات الفضل وقطِع الحب. 

رحمك ﷲ وآنسك بما یؤنس بھ أولیاءه وأحباءه وأصفیاءه، وآتى أھلك وأولادك وإخوتكَ وأقرباءك وأصحابك وإخوانك قدر الصّبر اللازم لقول رضي ٍ بالقدر المحتوم: ( إنا             وإنا إلیھ راجعون.( 

Analysis

The text above is a eulogy. It is said with a number of stylistic devices. The 

most prominent device is metaphor; it is clear in the verse “ یا أیتھا النف س المطمئن ةارجعي إلى ربك راضیة مرضیة فادخلي في عبادي وادخلي جنتي”. There is also a clear 

. He described the الإنسان النافع الجاد المعطاء في حیاتھ تجربة غنیةanalogy in the text: meant person as being a rich experience. Then the speaker uses simile when he says: “فأسامة لدى كل ھؤلاء منظومة خیرة، فیھا ما فیھا من حبات الفضل وقِطع الحب.”

Text 2 

وھو(الموت)لیسفناءً إنماھوخلق،ووجود،فلاأحدیشتبھبأَّ ن الموتفناء،الموتھوكماینتقل الولیدمنرحمأمھ،وھومیتِّفیھ،ویحیافيالدنیا،كذلكالإنسانعندماینتقلمنھذهالحیاةیموت فيھذهالدنیا،ولكنتبقى الحیاةالخالدةالحقیقیةّ بعدالموت.النظرةإلىالموتعلىأنھفناءنظرة متشائمِة، وبائسة،وخاطئة،وقدشغلتقضیةّالموتبالَ الفلاسفة.قدنختلف فيأسباب الموت ،وقدنختلف فيصورة الحیاةبعدالموت،لكننالانختلف علىأَّ ن الموتحقیقة -والحقیقةلا تـبدل مننفسھاشیئ اً-ومنلمیمتالیومیمتغداً،فلانشغلبالناكثیراً،إنـَّ ماالمھـمِ ُّ ھوكیفنـُواجـھِ الموت، وكیف نصنع مصیرنا بعد أن نموت، وننتقلإلى تلك الحیاةالأبدیةّ 

عندما نتحدَّ ث عن العلامة عصام العطیةّ بعطاءاتھ نجد أنـَّ ھ كان علامة مُتمیزِّة في طریق الصعود العلم يِّ منذ أن نشأ، وترعرع، ومنذ أن اعتلى منابر الفكر، ومجالات المعرفة، فأعطى ما استطاع أن یعُطي؛ وباعتباره نجم اً من نجوم العلم والمعرفة في سماء العراق یُذكـرِّنا بالقانونییِّن الأوائل ،ویذُكـرِّنا باللائحة القانونیّة الأولى في العالم التي خُطـَّ ت في زمن حمورابي في المسلة المعروفة عام 1792 إلى عام 1750 قبل میلاد السیدِّ المسیح -علیھ السلام- قرابة 4000 سنة . 

Analysis 

The speaker in the text above uses simile: “ ،وھو (الموت) لیس فناءً إنما ھو خلقووجود ، فلا أحد یشتبھ بأ َّ نالموت فناء، الموت ھو كما ینتقل الولید من رحم أمّھ، وھو میِّت فیھ، ویحیافي الدنیا، كذلك الإنسان عندما ینتقل من ھذه الحیاة یمو ت في ھذه الدنیا، ولكن تبقى الحیاة الخالدةالحقیقیّ ة بعد الموت”. The speaker also uses symbolism. Mitigation is also clear throughout the whole text. Every word in this text tries to reduce the sad effect of the death of. The speaker uses metaphor when he says: وباعتباره

: he borrowed the نجم اً من نجوم العل م والمعرفة في سما ء العرا ق یُذكـرِّن ا بالقانونیِّین الأوائ ل

word star to refer to the dead person. 

Text Three 

ھؤلاء لا ینبغي أن تنتھي حیاتھم بحیاتنا لمجَّ رد أنھم رحلوا، إنما انتقلوا أبداناً، وبقیت علومھم ،

وأخلاقھم،ومواقفھم،وعطاءاتھمالتيیجبأنتبقىتتفاعلفيداخلنا،فنعكسھاكأمانةإلىالأجیال

اللاحقة؛لذارأیُتُ بعضالناسكباراً حینیذكرونالآخرین:لایكونالأخأخ اًأوالصدیقصدیقاً حتى یذكر أخاه في ثلاث: فيمحنتھ، وفي غیابھ، وبعد وفاتھ 

Analysis 

The speaker uses mitigation in the text above. He tries his best to tell those relatives of the dead person that he lives in what he has left and not in his 

ھؤلاء لا ینبغي أن تنتھي حیاتھم بحیاتنا لمُج َّ رد أنھم رحلوا، إنما “ body. The body is mortal

انتقلوا أبداناً، وبقیت علومھم، وأخلاقھم، ومواقفھم، وعطاءاتھم التي یجب أن تبقى تتفاعل في داخلنا،

فنعكسھا كأمانة إلى الأجیال اللاحقة؛ لذا رأی تُ بع ض الناس كبارا ً حین یذكرون الآخرین: لا یكون Imagery .”الأخ أخ اًأو الصدیق صدیقا ًحتى یذكر أخاه في ثلا ث: في محنتھ، وفي غیابھ، وبعد وفاتھis clear in the text. The speaker wants to show the listeners the image of 

transformation from being alive to being dead: 

Text Four 

نقف الیوم لتأبین قائدنا و أخینا ومعلمنا الدكتور عبد المجید ، ونحن عاجزون عن تعداد مناقبھ ونضالاتھ ! فمن الصعب اختزال حیاة القائد والزعیم والرفیق والأخ والأب الروحي عبد المجید بوزوبع ،فيدقائقأوساعات.وقدتتعثرالكلمات حین الحدیث عنھ، ولكننيسأقفعند أبرز محطاتمساره وحیاتھ النضالیة والانسانیة ، ولو بإیجازشدید. 

 إننا نؤبن الیوم قائدا ورمزا للنضال أخا ورفیقا ومعلماوطبیبا ، تكاملت 

Table 1: The frequencies of stylistic devices in English eulogies are as follows

Table 2: The Frequencies of the Stylistic Devices in Arabic Eulogies Are As Follow

• Statistical analysis of eulogies in English 

• Statistical analysis of eulogies in Arabic 

فیھ العدید من الصفات فاستطاع أن یجسد الإحساس النضالي والانساني بكل جوانبھ ، فكانبحق نموذج اً متكاملاً للأخلاق السیاسیة، والإنسانیة بامتیاز ..متواضع اً صادقا مؤمن اً ومناضلاً وطنی اً وقومیا بامتیاز .. اتفق الجمیع صغاراً وكبار اًعلىأن فقدانھیعدخسارةكبیرة .كانطبیباو معلماً و قائدا تقدمیا،وصادقاً وخلوق اً ، ومثقف اً فكرً ا وأصالةً ونضالا.

Analysis 

Mitigation is clear in every word of the above text. The speaker is doing his best to keep the audience calm and to reduce their sadness. He is believing 

in the magic of words. He uses a number of images like “. وقد تتعثرّ الكلمات حین

إننا نؤبن الیوم قائدا ورمزا للنضال أخا ورفیقا ومعلما وطبیبا ، تكاملت فیھ ” and “الحدیث عنھ

العدید من الصفات فاستطا ع أن یجسد الإحسا س النضالي والانساني بكل جوانبھ ، فكان بحق نموذج اً

متكاملاً للأخلاق السیاسیة، والإنسانی ة بامتیاز ..متواضعا ًصادقا مؤمن اًومناضلاً وطنی اًوقومی ا بامتیاز 

.. اتفق الجمیع صغار اً وكبار اً على أن فقدانھ یعد خسارة كبیرة . كان طبیبا و معلم اً و قائدا تقدمیا ،

 .”وصادق اً وخلوق اً ، ومثقف اً فكر اً وأصالةً ونضا لا

In both English and Arabic cultures, eulogy is process that is issued through a number of stages. This process is preceded by the ceremonies of the funeral. In the English culture eulogy is uttered for every one after his death. Whereas in Arabic, eulogy is uttered only for those who have a certain social rank. Stylistically speaking, eulogy in both cultures is issued through the same stylistic devices with a slight difference in the frequencies of these devices.

The purpose of using eulogies is to express the love of the text composers for the departed. Eulogies function as mitigating tool the announcer sometimes uses to reduce the effort of the association on the reader i.e., soften the pain of death. 

In English, eulogy is a more sophisticated process than that of Arabic. This is because it is done more repeatedly than it is in Arabic culture. In Arabic it is done in certain occasions. 

The process of eulogy in English and Arabic is affected by the contextual clues. This means that the speaker and the degree of his relativeness to the dead person affect the strategies he uses in his speech. Besides, the the audience and their background knowledge also has a certain effect on the stylistic devices the speaker uses. 

In english, the process of delivering eulogy is more systematic than that of Arabic. This is because it is part of their lives and not occassionally done as in Arabic. The style of eulogy in Arabic is more elegant that it is in Arabic may be because they used to do it and hear it. 

The stylistic devices are clearer in English eulogy than that of Arabic eulogy. This happens because they take care of this process because it is part of their funeral events.

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