What literary devices does Aphra Behn use in Oroonoko?

Oroonoko, written by Aphra Behn, is about a prince who was taken from Africa and forced from his high position into ultimate powerlessness; he was enslaved, moving from a position of highest esteem to a position of lowest esteem in a moment. Behn, a white female author, attempts to share his story in a realistic manner, though she often romanticizes his life through her lavish descriptions. One of these descriptions is seen as she uses imagery to present Oroonoko's physical appearance. She writes,

His face was not of that brown rusty black which most of that nation are, but of perfect ebony, or polished jett. His eyes were the most awful that cou'd be seen, and very piercing; the white of 'em being like snow, as were his teeth. His nose was rising and Roman, instead of African and flat. His mouth the finest shaped that could be seen; far from those great turn'd lips, which are so natural to the rest of the negroes. The whole proportion and air of his face was so nobly and exactly form'd, that bating his colour, there could be nothing in nature more beautiful, agreeable and handsome. There was no one grace wanting, that bears the standard of true beauty. His hair came down to his shoulders, by the aids of art, which was by pulling it out with a quill, and keeping it comb'd; of which he took particular care.

Upon meeting Oroonoko, she describes his appearance with vivid diction choices, employing words such as "polished jett," "nobly and exactly form'd," and "no grace wanting," to show Oroonoko's majestic appearance. In this passage, we also see Behn employing a simile, describing the white of his eyes (and his teeth) as being "white . . . like snow." Additionally, she employs hyperbole, or extreme exaggeration, in describing him as "so nobly and exactly form'd . . . there could be nothing in nature more beautiful, agreeable and handsome." These similes and hyperboles offer readers more clarity about Oroonoko's appearance and heighten his grandeur. Her description makes him out to be so perfect in appearance that he seems almost holy, despite her admission that his culture behaved differently than her Christian culture. For instance, she writes of Imoinda, the beauty of Oroonoko's homeland, who fell in love with Prince Oroonoko but was loved by the king and forced to become his concubine. Through this we learn of Oroonoko's culture's practices of marrying multiple women, something Behn would have opposed. Even though Oroonoko's culture follows "pagan" practices, the narrator speaks highly of the culture, using a positive tone to describe Oroonoko and his life accomplishments, despite his immense struggles.

Another literary device seen in the text is Behn's use of allusions. For instance, she alludes to Imoinda, Oroonoko's great love, as "black Venus." Oroonoko is called "black Mars." These allusions to Roman gods once more magnify Oroonoko's power and majesty. This is seen in the following passage introducing Imoinda:

This old dead hero had one only daughter left of his race, a beauty, that to describe her truly, one need say only, she was female to the noble male; the beautiful black Venus to our young Mars; as charming in her person as he, and of delicate virtues. I have seen a hundred white men sighing after her, and making a thousand vows at her feet, all in vain, and unsuccessful. And she was indeed too great for any but a prince of her own nation to adore.

Not only does this passage contain allusions, but it once more includes hyperbole, in describing the "hundred white men sighing after her, and making a thousand vows at her feet, all in vain." This is a clear exaggeration made for dramatic effect to emphasize her point that Imoinda was a great beauty.