Epizeuxis in an original paper-boat scene

This is an original fictional scene about Iona, a paper boat and a small stone. Iona and the boat are invented. I have given Iona a notebook, an unfinished sentence and an afternoon she has left mostly unplanned. The two retail items described later remain outside her story.

The narrow name

Silva Rhetoricae calls repetition with no other words between epizeuxis, used for emphasis or vehemence. Here the repeated word is Wait. The surrounding scene and its people are original fiction.

A fold at dusk

Iona found the boat where the water narrowed beside a flat stone. Its pointed bow leaned against the stone's dark edge. One corner of the folded paper had turned down, giving the small vessel the appearance of a person studying something beneath the surface. From the path it had looked white. Beside it she could see a faint blue line crossing the middle fold, with half a written word above it. The rest of the word had disappeared inside the paper. She crouched on the dry bank and tried to read the half she had.

Nothing in the visible letters told her who had made it. There was an upright stroke, a loop and something that might have been the end of an n. She decided it was the middle of a name, then withdrew the decision. It could as easily have belonged to a list. The boat stayed against the stone while a small brown leaf passed on the other side. Iona watched the leaf until the bend hid it. Then she took her notebook from the pocket of her coat, keeping her other hand on the bank.

The notebook opened to a sentence she had written that morning: “By evening there would be something to tell.” Beneath it she had left an empty line. She had meant to describe an arrival, although she had never decided who would arrive or where. A person carrying a suitcase had seemed too ready for the sentence. A bird at the window had already appeared in another page. Now the paper boat was in front of her, apparently finished with travelling. She wrote boat in the empty line, then put a small circle around the word.

Farther along the path, a gate clicked. Iona looked up and saw its shadow move across the gravel. The person who had passed through it was already beyond the hedge. She could have called out to ask about the boat, but she had no reason to connect the two. Instead she returned to the half word on the paper. The upright stroke looked longer now that she had noticed it. She drew its shape in the margin without giving it a letter. Her pencil made a dark dot where she paused at the bottom.

The spoken line

“Wait, wait, wait,” Iona said.

She had been about to turn the page. Her thumb still held the corner, lifting it just far enough for the next sheet to show. The word boat sat inside its circle on the old page. On the new one there was a square she did not remember drawing. She lowered the corner again. The square vanished. In front of her, the boat's bent corner dipped, rose and settled against the stone. There was no answer to the sentence she had spoken. A small patch of sky shone in the water between the bow and the bank.

Iona put the notebook across her knees. She had spoken quietly, to herself, although she now imagined the boat receiving the words with great seriousness. In that imagined exchange it had stopped on purpose and was waiting for further directions. She drew a short line under the circled word. The boat acquired a captain who was too small to see, then lost the captain again. Iona preferred the empty boat. She could look at the folded paper without having to invent somebody standing inside it and explaining where it ought to go.

A breeze moved the hem of her coat. She stood, brushed one knee and moved a little farther from the edge. From there the hidden writing was harder to see. The boat became an arrangement of pale triangles, with one dull patch where the paper had darkened. Iona tried to remember its shape before looking back. In her memory the bow was taller and the blue line was straight. The actual line she could see bent at the fold. She crossed out her sketch of the straight line and drew another with an angle in it.

A mark inside

At the back of the notebook she found a page headed “Things I did not send.” Only one item followed: a description of a yellow room. She had written it for nobody in particular, then kept it because the room had begun to seem familiar. There was a chair facing away from a window and a bowl on the floor. No door appeared in the description. Iona read the page beside the water and wondered how the person who had arranged the room was supposed to leave it. She added a door in the margin, with a handle made from a small black circle.

The boat had no such room. It had the narrow space between its folds, which remained closed to her view. She put the notebook down on the grass and looked at that space. The half word stayed unread. For a moment she wanted to decide that it said home, because home would give the boat a destination and make her afternoon easier to recount. She wrote that possibility on the page, inside quotation marks. Then she added a question mark outside them. The boat supplied no further letters. The word in her notebook belonged to Iona's guess.

She turned back to the yellow room and gave it a second window. Through that window she drew the stone. The room now overlooked a tiny version of the place where she was standing, but the bowl on its floor remained unexplained. Iona made the bowl blue. The pencil could not make it blue, so she wrote the color beneath the drawing. When she held the notebook farther away, the word looked like a label in a shop window. She put the pencil behind her ear and let the room remain unfinished.

A little later she remembered the empty square on the next sheet. It was still there when she turned to it. Inside she drew a boat with an excessively high bow, then wrote “not this one” below it. She was beginning to like the notebook's collection of failed likenesses. They gave the actual boat more room to remain itself in the scene. Her drawing could have a tower or a staircase tomorrow. The boat beside the stone had only its folded sides and its unread piece of writing this afternoon.

Across the page

Iona sat on the bench farther up the path to write the afternoon down. From the bench she could see the stone through a gap in the grass, though the boat had become a pale sliver. She wrote that she had found it, then stopped over found. The word suggested she now possessed something. She changed the sentence to say that she had noticed it. Below that she copied her spoken line. She left a little space before the next sentence, while a person with an empty basket passed the bench and continued toward the gate.

In the next part of her account, the basket acquired three pears. Iona noticed what she had done and drew a line through them. The person had carried an empty basket in the scene she had already written. She could invent pears in a different scene, but she wanted this page to retain the empty curve of the handle and the daylight inside it. She wrote the word empty again beside the correction. That small revision occupied more of the page than the passing person had occupied of her afternoon.

She considered giving the boat a final journey around the bend. It would have made a tidy last event: the bow lifting, the stone released, the pale paper growing small. She could picture it clearly from the bench. But when she looked through the grass, the sliver remained beside the dark edge. Iona left the journey out. The sentence about something to tell no longer needed an arrival. She had the unread letters, the empty basket and the room to which she had added a door. They would fit on the page without moving the boat.

The line I keep

The alternative I decline is “Wait, little boat, wait.” The words little boat separate its two Waits. My selected line keeps three Waits adjacent, with commas between them.

I keep Iona's lowered page corner beside that line. It gives her something small to stop doing within the written scene. The notebook stays open to the circled word; the new square disappears when she lowers the corner. These are the particular events I have put before and after her speech. I have left the boat's maker unnamed and its half word unread. Adding a signature or a recovered message would require more fiction, and I have chosen to finish this version while those spaces remain open.

The yellow room also stays on its own page. Iona has added a door, a window and the word blue, but she has not entered it. The drawing overlooks a version of the stone, not a second physical place described by a product account. When I return to this draft, I can find every change in the notebook: the angled line, the question mark, the crossed-out pears. I prefer those visible marks to a later explanation in which Iona claims she understood the whole afternoon from its first moment.

Two optional toys

The Ace Yo MAX listing names Amusing MAX in its description. Its three original gallery views show a joined two-half toy with a rounded central cup and an inner rim step. No supplied string inventory, material verification or spin performance is established here. It has no role in the fictional boat's movement.

The One Drop ThruLine listing repeats its title in a short description. Its three gallery views show a broad raised circular hub, surrounding cup and angular rim step. No supplied string inventory or tested response, handling or suitability is adopted. The different visible construction does not finish any event in Iona's notebook.

Two other pages

The original epanalepsis guide follows a fictional Home sentence with intervening words before its final return. Its house and unfinished route belong to that separate piece, rather than Iona's boat scene.

The original triolet guide supplies an eight-line paper-moon poem with fixed returns and two rhymes. Its cup, moon and spoon remain in that poem. This scene gives Iona no poem to complete.

Beside the stone

Before leaving, Iona walked back to the gap in the grass. She did not go down to the bank again. From the path, the boat's bow and the stone made a single pale-and-dark shape. She opened the notebook to check the last sentence. It said that the boat remained beside the stone when she left. She added the words “in this version” below it, because she knew she might write another afternoon later. Then she closed the notebook with the pencil still marking the page about the yellow room.

The gate clicked once more behind the hedge. Iona put the notebook in her coat pocket and followed the path away from the water. The boat stayed where this scene had placed it. Its folded writing remained unread. On Iona's page, the crossed-out pears were still visible beneath their thin pencil line, and the room's new door had a handle large enough to find.

A fictional paper boat waits beside a stone.

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