View source for Trope

{{also|-trope}}
==English==
{{was wotd|2017|September|6}}

===Etymology===
{{root|en|ine-pro|*trep-}}
From {{der|en|la|tropus}}, from {{der|en|grc|τρόπος||a [[manner]], [[style#Noun|style]], [[turn#Noun|turn]], [[way]]; a trope or [[figure of speech]]; a [[mode]] in [[music]]; a mode or [[mood]] in [[logic]]}}, related to {{m|grc|τροπή||[[solstice]]; trope; turn}} and {{m|grc|τρέπειν||to [[turn#Verb|turn]]}}; compare {{m|en|turn of phrase}}. The verb is derived from the noun.

===Pronunciation===
* {{IPA|en|/tɹəʊp/|[tɹ̥əʊp]|a=RP}}
* {{enPR|trōp|a=GA}}, {{IPA|en|/tɹoʊp/}}
* {{rhymes|en|əʊp|s=1}}
* {{audio|en|LL-Q1860 (eng)-Vealhurl-trope.wav|a=Southern England}}

===Noun===
{{examples|sense=art, literature|
* [[mad scientist]] {{q|horror movies}}
* [[once upon a time]] {{q|fairy tales}}
}}
{{en-noun}}

# {{lb|en|art|literature}} Something [[recur]]ring across a [[genre]] or [[type#Noun|type]] of [[art]] or [[literature]]; a [[motif]].
#* {{quote-web|en|author=Katie Rife|title=''[[w:The Girl with All the Gifts (film)|The Girl With All The Gifts]]'' tries to put a fresh spin on overripe zombie clichés|url=http://www.avclub.com/review/girl-all-gifts-tries-put-fresh-spin-overripe-zombi-250838|work=w:The A.V. Club|date=23 February 2017|passage=You have to give director [[w:Colm McCarthy (director)|Colm McCarthy]], a Scottish TV veteran making his feature film debut, and writer [[w:Mike Carey (writer)|Mike Carey]], adapting his own novel, credit for attempting the seemingly impossible task of doing something new with the zombie subgenre. And by blending it with the common [[YA]] [young adult] '''trope''' of a young female protagonist who leads the world into a new revolutionary era, they almost get there—largely thanks to newcomer [Sennia] Nanua, who presents her character's grappling with complex themes of identity and original sin with a childlike guilelessness.}}
#* {{quote-journal|en|author=Helen Davidson|quotee={{w|Richard Moore (diplomat)|Richard Moore}}|title=China complicit in Russia’s invasion of Ukraine, says MI6 chief|work=The Guardian|date=2023-07-20|url=https://www.theguardian.com/uk-news/2023/jul/20/china-complicit-in-russias-invasion-of-ukraine-says-mi6-chief|issn=0261-3077|passage=They have completely supported the Russians diplomatically, they’ve abstained in key votes at the United Nations, they’ve absolutely cynically repeated all the Russian '''tropes''', particularly in places like Africa and Latin America – [by]{{sic}} blaming Nato and all of this stuff.}}
#* {{quote-journal|en|work=FT Weekend|date=2024-05-11|title=More than human?|author=John Thornhill|section=Life & Arts|page=8|passage=Contrary to the familiar '''trope''' that regulation kills innovation, Harding argues that in fact the political, moral and legal clarity provided by the Warnock commission spurred investment and economic growth.}}
# {{lb|en|medieval|_|Christianity}} An addition (of dialogue, song, music, etc.) to a standard element of the [[liturgy]], serving as an [[embellishment]].
#* {{quote-book|en|year=1918|title=Le mystère d'Adam, an Anglo-Norman drama of the twelfth century|author=Paul Studer
|url=https://archive.org/details/LeMystereDAdamStuder/page/n15/mode/2up
|text=Usually known as ''''tropes''',' these interpolations consisted at first of but a few words; those of the ''Introit'' at the beginning of Mass on great festivals, however, often took the form of dialogues.
}}
#* {{quote-book|en|author=Peter M. Lefferts|chapter=trope|editors=Paul E. Szarmach; M. Teresa Tavormina; Joel T. Rosenthal|title=Medieval England: An Encyclopedia|series=Routledge Encyclopedias of the Middle Ages|seriesvolume=3|location=New York, N.Y.|publisher=w:Routledge|year=1998|isbn=978-0-8240-5786-2|location2=Abingdon, Oxon.; New York, N.Y.|publisher2=Routledge|year2=2016|page2=743|pageurl2=https://books.google.com/books?id=XkQrDwAAQBAJ&pg=PA743|column2=1|isbn2=978-1-138-06208-5|passage=In the broadest sense '''tropes''' are all the later musical and textual accretions to the Franco-Roman nucleus of antiphonal and responsorial chants for mass and offices that we call Gregorian chant, a repertoire primarily fixed by the early 9th century. A '''trope''' might be a newly added textless melody (a melisma), text added to a preexistent melisma (a prosula), or newly composed text and melody added to an older item as an introduction or interpolation (a '''trope''' per se).}}
# {{lb|en|rhetoric}} A [[figure of speech]] in which [[word#Noun|words]] or [[phrase#Noun|phrases]] are used with a [[nonliteral]] or [[figurative]] [[meaning#Noun|meaning]], such as a [[metaphor]].
#* {{RQ:Swift Works|volume=VII|title=Orator against Peace|page=73|passage=Since the tories have thus disappointed my hopes, / And will neither regard my figures nor '''tropes'''; I'll speech against peace while Dismal's my name, / And be a true whig, while I'm Not-in-game.}}
#* {{quote-book|en|author=w:Francis Bacon|chapter=The First Book of Francis Bacon: Of the Proficience and Advancement of Learning, Divine and Human|title=The Works of Francis Bacon, Baron of Verulam, Viscount St. Alban, and Lord High Chancellor of England. In Five Volumes|location=London|publisher=Printed for [[w:Andrew Millar|A[ndrew] Millar]], in the [[w:Strand, London|Strand]]|year=1765|volume=I|pages=14–15|pageurl=https://books.google.com/books?id=1KjGJV0UGgMC&pg=PA15|oclc=505271389|passage=[T]hese four cauſes concurring, the admiration of ancient authors, the hate of the ſchoolmen, the exact ſtudy of languages, and the efficacy of preaching, did bring in an affected ſtudy of eloquoence, and ''copia'' of ſpeech, which then began to flouriſh. This grew ſpeedily to an exceſs; for men began to hunt more after words than matter; and more after the choiceneſs of the phraſe, and the round and clean compoſition of the ſentence, and the ſweet falling of the clauſes, and the varying and illuſtration of their works with '''tropes''' and figures, than after the weight of matter, worth of ſubject, ſoundneſs of argument, life of invention, or depth of judgment.}}
#* {{quote-book|en|author=[[w:George Campbell (minister)|George Campbell]]|chapter=Of Wit, Humour, and Ridicule|title=The Philosophy of Rhetoric. [...] In Two Volumes|location=London|publisher=Printed for [[w:William Strahan (publisher)|W[illiam] Strahan]]; and [[w:Thomas Cadell (publisher)|T[homas] Cadell]], in the [[w:Strand, London|Strand]]; and [[w:William Creech|W[illiam] Creech]] at Edinburgh|year=1776|volume=I|section=book I (The Nature and Foundations of Eloquence)|pages=65–66|pageurl=https://books.google.com/books?id=_cVLAAAAYAAJ&pg=PA65|oclc=224614777|passage=It is likewiſe witty, for {{...}} a '''trope''' familiar to this author, you have here a compariſon of—a woman's chaſtity to a piece of porcelain,—her honour to a gaudy robe,—her prayers to a fantaſtical diſguiſe,—her heart to a trinket; and all theſe together to her lap-dog, and that founded on one lucky circumſtance (a malicious critic would perhaps diſcern or imagine more) by which theſe things, how unlike ſoever in other reſpects, may be compared, the impreſſion they make on the mind of a fine lady.}}
#* {{quote-book|en|author=Thomas W[atkins] Powell|chapter=Of Law in General|title=Analysis of American Law|location=Philadelphia, Pa.|publisher=w:J. B. Lippincott & Co.|year=1870|oclc=5532801|location2=Clark, N.J.|publisher2=The Lawbook Exchange|year2=2008|page2=33|pageurl2=https://books.google.com/books?id=QLM81VCCEGsC&pg=PA33|isbn2=978-1-58477-866-0|passage=Law is the rule of human conduct. When this term is applied in reference to the governing principles of all actions, inanimate as well as animate, and arising from impulse or necessity, as well as from volition, it is used figuratively, as a '''trope''', rather than in its true and literal signification—as when we say, the laws of motion, the laws of gravitation, the laws of vegetable or animal life.}}
# {{lb|en|geometry}} {{non-gloss|Mathematical senses.}}
## A [[tangent]] [[space]] meeting a [[quartic]] [[surface#Noun|surface]] in a [[conic#Noun|conic]].
##* {{quote-book|en|author=[[w:R. W. H. T. Hudson|R[onald] W[illiam] H[enry] T[urnbull] Hudson]]|chapter=The Quartic Surface|title=Kummer’s Quartic Surface|location=Cambridge|publisher=At the [[w:Cambridge University Press|University Press]]|year=1905|oclc=318372861|location2=Cambridge|publisher2=Cambridge University Press|year2=2001|page2=15|pageurl2=https://books.google.com/books?id=1Bmjde9vhLIC&pg=PA15|isbn2=978-0-521-39790-2|passage=Hence the section must be a conic passing through six nodes, that is, the plane touches the surface all along a conic, and is therefore a '''trope'''. The complete section of the surface by a '''trope''' is a conic counted twice; since this passes through six nodes, the '''trope''' must touch the six quadric tangent cones along generators which are tangents to the singular conic.}}
## {{lb|en|archaic}} The [[reciprocal#Noun|reciprocal]] of a [[node]] on a surface.
##* {{quote-journal|en|author=[[w:Arthur Cayley|[Arthur] Cayley]]|title=VI. A Memoir on the Theory of Reciprocal Surfaces|journal=[[w:Philosophical Transactions of the Royal Society|Philosophical Transactions of the Royal Society of London]]|location=London|publisher=Printed by [[w:Taylor & Francis|Taylor and Francis]], Red Lion Court, {{w|Fleet Street}}|date=12 November 1868|year_published=1869|volume=159, part I|page=202|pageurl=https://books.google.com/books?id=-HdAL6oQ4UwC&pg=PA202|oclc=715761850|passage=I take account of conical and biplanar nodes, or, as I call them, cnicnodes, and binodes; of pinch-points on the nodal curve; and of close-points and off-points on the cuspidal curve: viz. I assume that there are / <math>C</math>, cnicnodes, / <math>B</math>, binodes, / <math>j</math>, pinch-points, / <math>\chi</math>, close points, / <math>\theta</math>, off-points, / deferring for the present the explanation of these singularities. The same letters, accented, refer to the reciprocal singularities. Or using "'''trope'''" as the reciprocal term to node, these will be / <math>C'</math>, cnictropes, / <math>B'</math>, bitropes, / <math>j'</math>, pinch-planes, / <math>\chi'</math>, close-planes, / <math>\theta'</math>, off-planes; / but these present themselves, not in the equations above referred to, but in the reciprocal equations.}}
# {{lb|en|music}} {{non-gloss|Musical senses.}}
## A short [[cadence]] at the end of the [[melody]] in some early [[music]].
##* {{quote-book|en|author=w:Francis Bacon|chapter=The Second Book of Francis Bacon: Of the Proficience and Advancement of Learning, Divine and Human|title=The Works of Francis Bacon, Baron of Verulam, Viscount St. Alban, and Lord High Chancellor of England. In Five Volumes|location=London|publisher=Printed for [[w:Andrew Millar|A[ndrew] Millar]], in the [[w:Strand, London|Strand]]|year=1765|volume=I|page=53|pageurl=https://books.google.com/books?id=1KjGJV0UGgMC&pg=PA53|oclc=505271389|passage=Is not the '''trope''' of muſic, to avoid or ſlide from the cloſe or cadence, common with the trope of rhetoric, of deceiving expectation? Is not the delight of the quavering upon a ſtop in muſic, the ſame with the playing of light upon the water?}}
##* {{quote-book|en|author=John G. Johnstone|chapter=Beyond a Chant: ‘Tui sunt caeli’ and Its Tropes|title=Studies in the History of Music|location=New York, N.Y.|publisher=Broude Brothers|year=1983|volume=1 (Music and Language)|pages=24–37|isbn=978-0-8450-7401-5|newversion=reprinted in|editor2=[[w:Alejandro Planchart|Alejandro Enrique Planchart]]|title2=Embellishing the Liturgy: Tropes and Polyphony|location2=Abingdon, Oxon.; New York, N.Y.|publisher2=w:Routledge|year2=2016|page2=138|pageurl2=https://books.google.com/books?id=YTsrDwAAQBAJ&pg=PA138|isbn2=978-0-7546-2764-7|passage=If the antiphon comes to an end with the “Praeparatio” '''trope''', a musical difficulty is presented by the '''trope'''’s cadence. Although the antiphon is in the E-plagal mode and the first three '''trope''' elements cadence on E, this '''trope''' cadences on G, a rare cadence tone in this mode.}}
## A pair of [[complementary]] [[hexachord]]s in [[twelve-tone technique]].
##* {{quote-book|en|author=w:George Perle|chapter=Simultaneity|title=Serial Composition and Atonality: An Introduction to the Music of [[w:Arnold Schoenberg|Schoenberg]], [[w:Alban Berg|Berg]], and [[w:Anton Webern|Webern]]|location=Berkeley; Los Angeles, Calif.|publisher=w:University of California Press|year=1963|page=120|pageurl=https://books.google.com/books?id=UHD0e59SBJUC&pg=PA120|oclc=224746225|passage=The eighty six-note segments were originally tabulated by Hauer and are the basis of his twelve-tone system. Each of [[w:Josef Matthias Hauer|[Josef Matthias] Hauer]]'s '''tropes''' consists of two hexachords of mutually exclusive content, so that each pair of hexachords includes all twelve tones of the semitonal scale. Only eight hexachords may be associated in this way with their own transpositions. These generate the eight '''tropes''' illustrated in examples 141 and 128. Each of the remaining seventy-two hexachords must be paired with a dissimilar hexachord in order to form a '''trope'''.}}
## {{lb|en|Judaism}} A [[cantillation]] [[pattern]], or one of the [[mark#Noun|marks]] that [[represent#Verb|represents]] it.
##* {{quote-book|en|author=Steven M. Brown|chapter=The Languages of Prayer|editor=Stephen Garfinkel|title=Higher and Higher: Making Jewish Prayer Part of Us|location=|publisher=Department of Youth Activities, [[w:United Synagogue of Conservative Judaism|United Synagogue of America]]|year=1985|section=section 3 (The Language of Music)|page=45|pageurl=https://books.google.com/books?id=1HzvHsgEPNkC&pg=PA45|oclc=24536235|passage=The Torah was chanted in a loud and strong voice so that all could hear. This cantillation of the Torah—'''trope'''—is shown by musical notation which serves grammatical and exegetical functions, ''ta'amay hamikra'' or ''ta'amay n'ginah''. They put down in a final form an oral tradition that had been maintained for centuries. The Ashkenazim today have six systems of cantillation, each reflective of the texts and time of chanting. For example, on Tishah B'av the tunes are sad and doleful; on Purim the '''trope''' resembles a speedy narrative; the readings of Yamim Nora'im are quite majestic, and so on.}}
##* {{quote-book|en|author=Sara E. Karesh; Mitchell M. Hurvitz|chapter=trope|title=Encyclopedia of Judaism|series=Encyclopedia of World Religions|location=New York, N.Y.|publisher=Facts On File, {{w|Infobase Publishing}}|year=2006|page=526|pageurl=https://books.google.com/books?id=Z2cCZBDm8F8C&pg=PA526|column=1|isbn=978-0-8160-5457-2|passage=The '''trope''' does not appear on the handwritten Torah scroll, but the assignment of notes for each word was fixed long ago and is accepted by Jewish communities around the world; the '''trope''' now appears in nearly every Jewish printed Bible. {{...}} The symbols that signify the '''trope''' for the Hebrew text were introduced at the end of the 10th century of the Common Era.}}
# {{lb|en|philosophy}} {{non-gloss|Philosophical senses.}}
## {{lb|en|Greek philosophy}} Any of the ten arguments used in [[skepticism]] to [[refute]] [[dogmatism]].
##* {{quote-book|en|author=Tanja Staehler|chapter=The Historicity of Philosophy and the Role of Skepticism|editor=David A. Duquette|title=Hegel’s History of Philosophy: New Interpretations|series=SUNY Series in Hegelian Studies|location=Albany, N.Y.|publisher=[[w:SUNY Press|State University of New York Press]]|year=2003|page=116|pageurl=https://books.google.com/books?id=3TrY9hSLSegC&pg=PA116|isbn=978-0-7914-5543-2|passage=For [[w:Georg Wilhelm Friedrich Hegel|[Georg Wilhelm Friedrich] Hegel]], ancient skepticism preserved the essence of the skeptical principle, and the '''tropes''' express this principle. In the earlier ten '''tropes''', there is, according to Hegel, a lack of abstraction that becomes obvious in the fact that their diversity could be grasped under more general points of view. {{...}} [[w:Sextus Empiricus|Sextus [Empiricus]]] explains that the first four '''tropes''' are based on the judging subject; these deal with the differences among animals, the differences among human beings, the differences that distinguish the various senses, and, finally, circumstantial differences.}}
## {{lb|en|metaphysics}} A particular [[instance]] of a [[property]] (such as the [[specific]] [[redness]] of a [[rose#Noun|rose]]), as contrasted with a [[universal#Noun|universal]].
##* {{quote-book|en|author=Brian Garrett|chapter=|title=What is this Thing Called Metaphysics?|edition=3rd|location=Abingdon, Oxon.; New York, N.Y.|publisher=w:Routledge|year=2017|pages=55–56|pageurl=https://books.google.com/books?id=cC8lDwAAQBAJ&pg=PA55|isbn=978-1-138-83224-4|passage='''Trope''' theory, though a minority view today, has been popular at various times throughout the history of philosophy, especially among medieval philosophers. '''Trope''' theory holds that properties and relations are themselves (unrepeatable) particulars. ('''Tropes''' are also called 'abstract particulars'&nbsp;– 'abstract' in the sense of fine, partial and diffuse, not in the sense of outside space and time.) Thus the redness of a particular billiard ball is a '''trope''', located where the ball is and nowhere else. A different but exactly resembling billiard ball has a numerically different but exactly resembling redness '''trope'''. There is no colour property common to, or instantiated in, both balls (similarly all other properties and relations).}}

====Usage notes====
In the art or literature sense, the word ''trope'' is similar to {{m|en|archetype}} and {{m|en|cliché}}, but is not necessarily [[pejorative]].

====Derived terms====
{{col3|en
|troper
|tropey
|tropical
|tropist
|tropology
}}

====Descendants====
* {{desc|ja|トロープ|tr=torōpu}}
* {{desc|ko|트로프}}

====Translations====
{{trans-top|art, literature: something recurring across a genre or type of art or literature}}
* Belarusian: {{t|be|троп|m}}
* Catalan: {{t+|ca|motiu|m}}, {{t+|ca|tòpic|m}}
* Chinese:
*: Mandarin: {{t|cmn|橋段}}, {{t+|cmn|套路}}
* Danish: {{t+|da|skabelon|c}}
* Dutch: {{t+|nl|troop|f}}
* Finnish: {{t+|fi|trooppi}}
* French: {{t+|fr|motif|m}}
* German: {{t+|de|Prototyp|m}}
* Greek:
*: Ancient: {{t|grc|τρόπος|m}}
* Japanese: {{t|ja|転義法|tr=てんぎほう, tengihō}}, {{t+|ja|約束|alt=お約束|tr=おやくそく, o-yakusoku}}, {{t|ja|トロープ|tr=torōpu}}
* Korean: {{t|ko|트로프}}
* Macedonian: {{t|mk|троп|m}}
* Norwegian:
*: Bokmål: {{t+|nb|trope|m}}
*: Nynorsk: {{t|nn|trope|m}}
* Russian: {{t+|ru|троп|m}}
* Serbo-Croatian:
*: Cyrillic: {{t|sh|тро̑п|m}}
*: Roman: {{t+|sh|trȏp|m}}
* Spanish: {{t+|es|tópico|m}}, {{t+|es|motivo|m}}
* Ukrainian: {{t+|uk|троп|m}}
{{trans-bottom}}

{{trans-top|rhetoric: figure of speech in which words or phrases are used with a nonliteral or figurative meaning}}
* Bulgarian: {{t+|bg|метафора|f}}
* Catalan: {{t+|ca|trop|m}}
* Chinese:
*: Mandarin: {{t+|cmn|比喻}}, {{t+|cmn|譬喻}}
* Czech: {{t|cs|tropus|m}}
* Dutch: {{t+|nl|troop|f}}, {{t|nl|figuurlijke uitdrukking}}
* Finnish: {{t+|fi|trooppi}}
* French: {{t+|fr|trope|m}}, {{t|fr|expression figurative|f}}
* Georgian: {{t|ka|ტროპი}}
* German: {{t+|de|Tropus|m}}, {{t+|de|Trope|f}}
* Greek:
*: Ancient: {{t|grc|τρόπος|m}}
* Hungarian: {{t+|hu|szókép}}, {{t+|hu|trópus}}, {{t|hu|[[képes]] [[beszéd]]/[[kifejezés]]}}, {{t+check|hu|alakzat}}
* Italian: {{t+|it|tropo|m}}, {{t+|it|figura retorica|f}}, {{t+|it|metafora|f}}, {{t+|it|metonimia|f}}
* Japanese: {{t|ja|転義法|tr=てんぎほう, tengihō}}, {{t+|ja|比喩|tr=ひゆ, hiyu}}
* Macedonian: {{t|mk|троп|m}}
* Norwegian:
*: Bokmål: {{t+|nb|trope|m}}
*: Nynorsk: {{t|nn|trope|m}}
* Persian: {{t+|fa|مجاز|tr=majâz}}
* Romanian: {{t+|ro|trop|m}}
* Russian: {{t+|ru|троп|m}}
* Serbo-Croatian:
*: Cyrillic: {{t|sh|тро̑п|m}}
*: Roman: {{t+|sh|trȏp|m}}
* Spanish: {{t+|es|tropo}}
{{trans-bottom}}

{{trans-top|music: short cadence at the end of the melody}}
* Chinese:
*: Mandarin: {{t-needed|cmn}}
* Dutch: {{t+|nl|troop|f}}
* Finnish: {{t+|fi|trooppi}}
* Greek: {{t+|el|τρόπος|m}}
* Italian: {{t+|it|tropo|m}}
* Russian: {{t-needed|ru}}
* Serbo-Croatian:
*: Cyrillic: {{t|sh|тро̑п|m}}
*: Roman: {{t+|sh|trȏp|m}}
{{trans-bottom}}

{{trans-top|music, Judaism: cantillation pattern or mark}}
* Chinese:
*: Mandarin: {{t-needed|cmn}}
* Dutch: {{t+|nl|troop|f}}
* Finnish: {{t+|fi|trooppi}}
* Hebrew: {{t|he|טעם המקרא}}
* Russian: {{t-needed|ru}}
* Serbo-Croatian:
*: Cyrillic: {{t|sh|тро̑п|m}}
*: Roman: {{t+|sh|trȏp|m}}
* Yiddish: {{t|yi|טראָפּ}}
{{trans-bottom}}

{{trans-top|music, Roman Catholicism: phrase or verse added to the Mass}}
* Chinese:
*: Mandarin: {{t-needed|cmn}}
* Dutch: {{t+|nl|troop|f}}
* Finnish: {{t+|fi|trooppi}}
* Greek: {{t+|el|τρόπος|m}}
* Italian: {{t+|it|tropo|m}}
* Russian: {{t-needed|ru}}
* Serbo-Croatian:
*: Cyrillic: {{t|sh|тро̑п|m}}
*: Roman: {{t+|sh|trȏp|m}}
* Spanish: {{t+|es|tropo|m}}
{{trans-bottom}}

===Verb===
{{en-verb}}

# {{lb|en|transitive}} To [[use#Verb|use]], or [[embellish]] something with, a [[#Noun|trope]].
#* {{quote-book|en|author=J[ames] M[idgley] Clark|chapter=The Drama|title=The Abbey of St Gall as a Centre of Literature & Art|location=Cambridge|publisher=At the [[w:Cambridge University Press|University Press]]|year=1926|page=206|pageurl=https://books.google.com/books?id=YwU4AAAAIAAJ&pg=PA206|isbn=1-00-141080-7|passage=The motive for '''troping''' the introit was twofold. Firstly there was the desire to add colour, mystical fervour, to the restrained, matter-of-fact Roman rite. Besides this psychological reason there was a practical one. The introit was sung by the choir while the celebrants proceeded towards the altar to officiate at mass. This part of the ritual lent itself very readily to embellishment and expansion.}}
#* {{quote-book|en|author=w:Alun Munslow|chapter=Managing the Past|editors=Patricia Genoe McLaren; Albert J. Mills; Terrance G. Weatherbee|title=The Routledge Companion to Management and Organizational History|series=Routledge Companions in Business, Management and Accounting|location=Abingdon, Oxon.; New York, N.Y.|publisher=w:Routledge|year=2015|page=133|pageurl=https://books.google.com/books?id=1ZFhCQAAQBAJ&pg=PA133|isbn=978-0-415-82371-5|passage=The specific outcome of that 'story-telling' largely derives from how managers 'figure' their world&nbsp;– how they '''trope''' or 'figuratively turn' meanings. So, management decision(s) making is about figurative synthesis&nbsp;– '''troping''' literal meaning&nbsp;– as much as it might be analysis.}}
# {{lb|en|transitive}} {{non-gloss|Senses relating chiefly to art or literature.}}
## To [[represent]] something [[figuratively]] or [[metaphorically]], ''especially'' as a [[literary]] motif.
##* {{quote-book|en|author=Heather Dubrow|chapter='A Doubtfull Sense of Things': Thievery in ''The Faerie Queene'' 6.10 and 6.11|editors=Patrick Cheney; Lauren Silberman|title=Worldmaking Spenser: Explorations in the Early Modern Age|series=Studies in the English Renaissance|location=Lexington, Ky.|publisher=w:University Press of Kentucky|year=1999|page=204|pageurl=https://books.google.com/books?id=_MJIeRkiQRsC&pg=PA204|isbn=978-0-8131-2126-0|passage="So clomb this first grand Thief into God's Fold" (4.192), {{w|John Milton|[John] Milton}} writes, thus '''troping''' Satan's transgression as neither deception, seduction, nor disobedience, though he presents it in those terms elsewhere, but rather as robbery.}}
##* {{quote-book|en|author=Thomas Strychacz|chapter='The Sort of Thing You Should Not Admit': Ernest Hemingway's Aesthetic of Emotional Restraint|editors=Milette Shamir; Jennifer Travis|title=Boy's Don't Cry?: Rethinking Narratives of Masculinity and Emotion in the U.S.|location=New York, N.Y.|publisher=w:Columbia University Press|year=2002|page=151|pageurl=https://books.google.com/books?id=KYYX51FomgYC&pg=PA151|isbn=978-0-231-12034-0|passage=It suggests that the "masculine" (or exaggeratedly masculine) style of ''{{w|Death in the Afternoon}}'' [by {{w|Ernest Hemingway}}] is not a formal or immanent attribute of the text but must be "engendered" through acts of interpretation. And it suggests that what was at stake in this "engendering" was nothing less than the preservation of powerful forms of authentic masculinity in the face of a work that, puzzlingly, seemed to '''trope''' the very notions of masculinity and modernism.}}
## To [[turn into]], [[coin#Verb|coin]], or [[create]] a [[new]] [[#Noun|trope]].
##* {{quote-book|en|author=Julie Clark Simon|chapter=Voiceprinting: How Its Failures Speak|editors=Emily Golson; Toni Glover|title=Negotiating a Meta-pedagogy: Learning from Other Disciplines|location=Newcastle upon Tyne, Tyne and Wear|publisher=Cambridge Scholars Publishing|year=2009|page=50|pageurl=https://books.google.com/books?id=Xe0YBwAAQBAJ&pg=PA50|isbn=978-1-4438-0501-8|passage=I '''troped''' the World Wide Web as an especially dangerous research venue. "Don't pick up anything unless you know where it has been," I said.}}
## To [[analyse]] a [[work#Noun|work]] in terms of its literary [[#Noun|trope]]s.
# {{lb|en|intransitive}} To [[think#Verb|think]] or [[write]] in terms of [[#Noun|trope]]s.
#* {{quote-book|en|author=Deborah Baker Wyrick|chapter=Investitures: Swift and Verbal Authority|title={{w|Jonathan Swift}} and the Vested Word|location=Chapel Hill, N.C.; London|publisher=w:University of North Carolina Press|year=1988|pages=39–40|pageurl=https://books.google.com/books?id=QdAPj20wjuEC&pg=PA39|isbn=978-0-8078-1780-3|passage=By acting ''in loco parentis'', the written word performs its own usurpations of generating authority and generated meanings. Therefore, after the brothers demolish the authority of the word as written, they ar able to substitute alternative authorities: the word as spoken, the word as added, the word as '''troped''', the word as altered, the word as hidden.}}

====Synonyms====
* {{l|en|tropify}}

====Derived terms====
* {{l|en|tropable}}

====Translations====
{{trans-top|to use a trope}}
* Dutch: {{t|nl|een [[troop]] [[gebruiken]]}}, {{t|nl|van een [[troop]] [[voorzien]]}}
* Finnish: {{t|fi|troopata}}
{{trans-bottom}}

===Related terms===
{{col3|en
|-trope
|tropic
|tropism
|tropo-
|-tropy
}}

===Further reading===
* {{pedia}}
* {{pedia|trope (cinema)}}
* {{pedia|trope (literature)}}
* {{pedia|trope (mathematics)}}
* {{pedia|trope (music)}}
* {{pedia|trope (philosophy)}}
* {{R:Century 1911}}
* {{R:OneLook}}
* {{R:OED2}}
* {{R:Webster 1913}}

===Anagrams===
* {{anagrams|en|a=eoprt|ptero-|Porte|Perot|Petro|retop|petro-|repot|petro|tepor|toper|opter}}

{{C|en|Figures of speech|Narratology}}

==French==
{{wp|lang=fr|Trope}}

===Pronunciation===
* {{fr-IPA}}
* {{audio|fr|LL-Q150 (fra)-Lepticed7-trope.wav}}

===Noun===
{{fr-noun|m}}

# {{lb|fr|music|literature|linguistics}} {{l|en|trope}}

===Further reading===
* {{R:fr:TLFi}}

==Latin==

===Noun===
{{head|la|noun form}}

# {{inflection of|la|tropus||voc|s}}

==Norwegian Bokmål==
{{wp|lang=no}}

===Etymology===
From {{der|nb|grc|τρόπος}}.

===Noun===
{{nb-noun-m1}}

# [[tropics]] {{q|usually the definite plural {{m|nb|tropene}}, but trope is used in compound words}}
# a {{l|en|trope}} {{q|in literature, rhetoric}}

====Derived terms====
* {{l|nb|tropeklima}}

===References===
* {{R:Dokpro|lang=nb}}
* {{R:NAOB|trope_1}}
* {{R:NAOB|trope_2}}

==Norwegian Nynorsk==
{{wp|lang=nn}}

===Etymology===
From {{der|nn|grc|τρόπος}}.

===Noun===
{{nn-noun-m1}}

# [[tropics]] {{q|usually the definite plural {{m|nn|tropane}}, but trope is used in compound words}}
# a {{l|en|trope}} {{q|in literature, rhetoric}}

====Derived terms====
* {{l|nn|tropeklima}}

===References===
* {{R:Dokpro|lang=nn}}

==Portuguese==

===Verb===
{{head|pt|verb form}}

# {{pt-verb form of|tropar}}