Artificial Epanorthosis: Why large language models overuse a classical rhetorical figure, and how to mitigate it
This paper measures and analyzes the overuse of epanorthosis, a rhetorical figure, in large language models and proposes techniques to mitigate it.
The paper introduces the Epanorthosis Index and proposes techniques to mitigate the overuse of epanorthosis in language models, which was not previously addressed.
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Applications
- →Natural language processing
- →Language model development
To understand this paper, make sure you know these concepts first:
- Understanding of language modelsfind papers →
- Familiarity with rhetorical figuresfind papers →
Abstract
More Like ThisA rhetorical figure that Cicero and Quintilian catalogued two thousand years ago reappears, systematically, in the text of large language models: epanorthosis, the self-correction of the specimen «This is not a course. It is a journey of transformation». This essay argues that the overuse is a trained disposition, driven mainly by a training distribution rich in promotional prose and by preference tuning (RLHF) that rewards confident, emphatic phrasing; the left-to-right nature of generation is an amplifier rather than the root cause. Building on evidence that models diverge from human rhetorical style, and on Fontanier's classification of epanorthosis as a figure of thought, it sets out a programme that scores the figure against genre-specific human baselines through an Epanorthosis Index (density relative to the human rate). A first measurement, on three sizes of one instruction-tuned model family, finds mis-calibration by register in both directions: the models overshoot in oratory (about twofold, near threefold in Italian, concentrated in the larger tiers) and undershoot in informal question-and-answer writing, while matching humans in argument, journalism, and encyclopedic prose. Three constructive contributions follow: a survey of mitigation techniques centred on lightweight LoRA adapters; a demonstration, in Italian, that a one-line instruction cuts the figure by half to nearly three-quarters and that a supervised-fine-tuning adapter removes it almost entirely, with a scaling coefficient that dials the reduction back onto the human rate; and the argument that the target is calibration to the human rate for each genre, not elimination. It closes on the stakes: the real risk is that we begin to write like the machines.