Syntactical Stylistics 1 SSDs based on different

Syntactical Stylistics • 1. SSDs based on different compositional pattern of syntactical arrangement • 2. SSDs based on peculiar linkage in a sentence. • 3. SSDs based on the use of colloquial constructions. • 4. SSDs based on the stylistic use of structural meaning.

Group 1. SSD with different compositional pattern of syntactical arrangement: • • • inversion, detachment, parallelism, chiasmus, repetition, • • suspense, enumeration, climax, antithesis

Inversion • is a displacement of any sentence member, which results in additional logical or emotional stress in the meaning of the utterance. • The stylistic function of the word order is to make prominent or emphatic that part of the sentence that is more important or informative in the speaker’s opinion.

Types of inversion complete double partial secondary

Types of inversion: Partial , Complete Inversion • Honest with each other, of course, they hadn’t been. (M. Binchy) • Impossible though it is, I’d like you to say you understand. (M. Binchy) • Eagerly I wished the morning to come. (M. Binchy) • Merry was the time. • Out went she, indignant and annoyed.

Types of inversion: secondary. • Secondary inversion is connected with the re -establishment of word order of questions. • Inverted questions, i. e. statements pronounced with the intonation of the interrogative sentence, can acquire a connotational meaning of the speaker’s awareness of the possible nature of the expected answer. E. g. “And you’ll come to our wedding? In a few years’ time? “ Stevie said. (M. Binchy)

Detachment • is a SSD through which one of the secondary parts of a sentence is placed so that it seems formally independent of the word it logically refers to. • It acquires independent stress and a special intonation pattern that leads to emphatic intensification of its meaning. • Graphically an attribute of an adverbial modifier is isolated by commas, dashes, full stops from the words they modify, • e. g. , ‘I want to go’, he said, miserable. I have to beg you for money. Daily. • The plane began to move. Backwards. (A. Hailey) • Women so rearly spoke in public. Brides never. ”. (M. Binchy)

Parenthesis • is а variant of detachment, a detached construction with the explanatory function. • Usually it is a qualifying word combination, which does not interrupt the structure of the sentence and is indicated by commas or dashes,

Parallelism • is identical or similar syntactical structure in two or more sentences or parts of sentences, • She didn’t want him to leave. He didn’t want her to go. (M. Binchy) • The sky was dark and gloomy, the air damp and raw. • The stylistic function: Parallel arrangement suggests equal semantic significance of the component parts and it gives a rhythmical design to these component parts.

Chiasmus/reversed parallelism • its pattern includes two sentences, the second of which necessarily repeats the reversed structure of the first one, i. e. SPOM, MOPS or MOPS, SPOM, • Down dropped the breeze, the sails dropped down. MPS-SPM • Stylistic function. Chiasmus is used to break the monotony of parallel constructions and • to contribute to the rhythmical quality of the utterance.

Repetition aims at the logical emphasis necessary to fix the attention of the reader to the key word of the utterance. Repetition not based on any compositional pattern Repetition based on a compositional pattern Anaphora: A. . Framing: A. . . a. Anadiplosis/ catch-repetition: . . . a. A. . Epiphora: . . . a. Chain repetition - a succession of anadiploses: . . . a. A. . . b. B

• • Anaphora: A. . . a. . . e. g. , He told her she was a sweet, exquisite child. He told her he had been brute to her. (A. J. Cronin) Epiphora: . . . a. e. g. , This was part of the fun. This was probably the only fun. (M. Binchy) Framing: A. . . a. e. g. , A mistake had been made, and yet it was not a wanton mistake Anadiplosis: . . . a. A. . . e. g. , It was as if they were both waiting. Waiting for the day when he would tell her. (M. Binchy) chain repetition: . . . a. A. . . b. B. . . e. g. , Rapidly the feeling became a strong hunch. The hunch became a conviction, and the conviction became a compulsion. He absolutely had to get home.

Enumeration • is a SSD with the help of which separate things, properties or actions are brought together, forming a chain of grammatically homogeneous and semantically heterogeneous parts of the utterance. • E. g. , The towns and the fields, the woods, the crossroads and the farmhouses slipped past in the night. (M. Binchy)

Suspense or retardation • Suspense is realized through the separation of the predicate or predicative from the subject by deliberate introduction between them of a phrase, clause or even sentence, • e. g. , Mankind, says a Chinese manuscript, which my friend was obliging enough to read and explain to me, for the first seventy thousand ages ate their meat raw. (Lamb)

Climax or gradation • is an arrangement of words or utterances in an ascending order of importance or emotional intensity when the strongest word is the last in the series; • e. g. , The buzz of the conversation had become almost a roar. (M. Binchy)

Types of climax Logical is based on the relative importance of the component parts as seen by the author Quantitative is based on an evident increase in volume of corresponding concepts Emotional is based on the gradual increase in emotional evaluation of a certain fact or its feature, on the relative emotional tension produced by words with emotive meaning

Types of climax • Logical climax is based on the relative importance of the component parts as seen by the author, • e. g. , I was well-inclined to him before I saw him, I liked him when I did see him, I admire him now. • Quantitative climax is an evident increase in volume of corresponding concepts, e. g. , Every one thought he was utterly sincere. Anna Kelly, Deirdre Hanly, Orla Dillon, dozens and dozens more that she could name, hundreds that she had never heard of. (M. Binchy) • Emotional climax is based on the gradual increase in emotional evaluation of a certain fact or its feature, on the relative emotional tension produced by words • e. g. , He was sick, shattered, on the verge of a complete collapse emotive meaning; . (A. J. Cronin)

• When the final element, which the reader expects to be the culminating one appears to be trifling or farcical, we deal with anticlimax. • The stylistic function is to create a humorous effect. Anticlimax is often used in paradoxes, • e. g. , Women have a wonderful instinct about things, they can discover anything except the obvious.

Antithesis • is a SSD based on relative opposition which arises out of the context through the expansion of objectively contrasting pairs, e. g. , • Youth is lovely, age is lonely, • Youth is fiery, age is frosty. (Longfellow)

Group 2. SSDs based on peculiar linkage in a sentence: Asyndeton Polysyndeton Gap-sentence link

• Asyndeton is a SD of connecting units by a deliberate avoidance of conjunctions or other connecting words, • E. g. , With a laugh he would rise, stretch himself, swing round his lenses, put the slides away. (A. J. Cronin) • Polysyndeton is a SD of connecting units by means of connectives placed before each component part; • E. g. , Bella soaped his face, and rubbed his face, and soaped his hands, and rubbed his hands. • Gap-sentence link is a peculiar way of combining sentences, which seem unconnected, together, leaving it to the reader to grasp the idea implied but not stated, • e. g. , she and that fellow ought to be the sufferers, and they were in Italy. (Galsworthy)

Group 3. SSDs based on the use of colloquial constructions Ellipsis question-inthe-narrative Aposiopesis/ break –in- the narrative represented speech

Ellipsis • is an omission of some parts of the utterance that can be easily restored with the help of the context. Ellipsis is a typical feature of colloquial speech, • e. g. , Tom turned to me. • “You live near here, Nick? ” • “Next door. ” • “That so? ” (F. S. Fitzgerald)

Aposiopesis / break-in-the-narrative • is a stylistic device that can be defined as a sudden break in the narration, a stopping for rhetorical effect. • Stylistic function is to focus the reader’s attention on what is left unsaid. • e. g. , I think that once you’ve found a person that you’re very fond of…I mean a person who’s fond of you, too, and likes you enough to be interested in your character… (O. Wilde)

Question-in-the narrative • is a question that is asked answered by one and the same person, usually the author, • e. g. Here she was in her car, going at a perfectly normal speed. Should she pull in? She saw a place that was suitable and drew to the side of the road. (M. Binchy)

Ways of representing real speech : Direct speech Indirect speech uttered Represented speech unuttered

Actual speech may be represented in different ways: • 1. by exact repetition of the utterance – by direct speech, which is always introduced by a verb of speech such as say, call, cry, etc. , and is given as a quotation in inverted commas; • 2. by putting a character’s actual words through the author’s mouth in the course of his narration, i. e. by indirect speech; • 3. by represented speech which is that form of the utterance which conveys the actual words of the speaker through the mouth of the writer but retains the peculiarities of the speaker’s mode of expression. There are two variants of represented speech: uttered represented speech and unuttered represented speech.

Group 4. SSDs based on the stylistic use of structural meaning Rhetorical question • is an energetic statement expressed in the form of a question, so that the meaning of the question and that of the statement are interplayed, e. g. , • Who is here so vile that will not love his country? (Shakespeare) • Who will be open where there is no sympathy? Litotes • is a SSD consisting in a peculiar use of negative constructions; it is an affirmation expressed by denying its contrary, not bad – good, not a coward – brave. • A variant of litotes is a construction with two negations, as not unlike, not unpromising, not displeased, • Mary was not faultless. (J. Fowles)