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III. SEM – based on the unusual arrangement of syntactical elements (inversion)
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III. SEM – based on the unusual arrangement of syntactical elements (inversion)
Inversion
The violation of the traditional word order of the sentence (subject-predicate-object-adverbial modifiers) which does not alter the meaning of the sentence only giving it an additional emotional coloring is called stylistic inversion.
Stylistic inversion may be of various types:
1) the predicate may precede the subject of the sentence;
2) the object is placed before the predicate;
3) the attribute stands after the word it modifies (the post-position of an attribute).
Stylistic inversion is used to single out some parts of the sentence and sometimes to heighten the emotional tension.
e. g. Then he said: “You think it’s so? She was mixed up in this lousy business? ”
Word-order is a crucial syntactical problem in many languages. In English it has peculiarities which have been caused by the concrete and specific way the language has developed. Inversion - the reversal of the normal order of words in a sentence, for the sake of emphasis (in prose) or for the sake of the metre (in poetry): Dark they were and golden-eyed. Stylistic inversion aims at attaching logical stress or additional emotional coloring to the surface meaning of the utterance. Therefore a specific intonation pattern is the inevitable satellite of inversion. Stylistic inversion in Modern English should not be regarded as a violation of the norms of standard English. It is only the practical realization of what is potential in the language itself. Inversion as a stylistic device is always sense-motivated. There is a tendency to account for inversion in poetry by rhythmical considerations.
The normative usage in English is characterized by the fixed word order.
When the word order is altered, changed, then we speak about Inversion: Rude am I in my speech. This is the kind of English up with which I cannot put.
Due to inversion the displaced element becomes the rheme of a sentence.
(«Тема – при актуальном членении предложения та его часть, которая содержит что-то известное, знакомое и служит отправной точкой (основой) для передачи нового (ядра высказывания, или ремы). Рема – при актуальном членении ядро высказывания, содержание сообщения, то, что говорящий сообщает, отправляясь от темы». Словарь-справочник лингвистических терминов. Д. Э. Розенталь, М. А. Теленкова).
Any part of speech may be inverted. Inversion doesn’t alter the meaning of the whole sentence. It only gives additional emotional colouring to the utterance. This syntactical device gives liveliness and vigour to the whole utterance.
IV. SEM – based on the interplay of adjoining sentences (parallel constructions)
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Parallel Constructions
Constructions formed by the same syntactical pattern, closely following one another present the stylistic device of parallelism. Parallelism strongly affects the rhythmical organization of the paragraph, so it is imminent in oratoric speech, in pathetic and emphatic extracts.
Parallelism can be complete when the construction of the second sentence fully copies that of the first one. Or parallelism can be partial, when only the beginning or the end of several sentences are structurally similar.
Parallel constructions (or syntactic parallelism) - a figure based on the use of the similar syntactic pattern in two or more sentences or syntagms. Parallel constructions are often backed up by repetition of words (lexical repetition) and conjunctions and prepositions (polysyndeton). Pure parallel construction, however, does not depend on any other kind of repetition but the repetition of the syntactical design of the sentence. Parallel constructions may be partial or complete. Partial parallel arrangement is the repetition of some parts of successive sentences or clauses. Complete parallel arrangement, also called balance, maintains the principle of identical structures throughout the corresponding sentences. Parallel construction is most frequently used in enumeration, antithesis and in climax, thus consolidating the general effect achieved by these stylistic devices. Parallel construction is used in different styles of writing with slightly different functions. As a final remark it must be stated that the device of parallelism always generates rhythm, inasmuch as similar syntactical structures repeat in close succession. Hence it is natural that parallel construction should very frequently be used in poetical structures. Alternation of similar units being the basic principle of verse.
Parallel constructions. Parallelism – is a figure of speech consisting in the usage of the identical structure at the beginning or at the end of successive clauses or sentences: What we anticipate seldom occurs. What we least expect, generally happens. Complete parallelism – when the repeated sentence-patterns are identical throughout the sentence (She was a good servant, she was a determined woman, she was a nice cook). Partial parallelism – when the repeated unit varies: The sky was dark and gloomy, the air damp and raw, the streets wet and sloppy.
Function: intensifies the meaning, creates a rhythmical effect.
Chiasmus
Chiasmus belongs to the group of stylistic devices based on the repetition of a syntactical pattern, but it has a cross order of words and phrases. " Down dropped the breeze, The sails dropped down". Chiasmus is sometimes achieved by a sudden change from active voice to passive or vice versa. It must be remembered that chiasmus is a syntactical, not a lexical device, i. e. it is only the arrangement of the parts of the utterance which constitutes this stylistic device. " In the days of old men made the manners', Manners now make men, " there is no inversion, but a lexical device. Both parts of the parallel construction have the same, the normal word-order. However, the witty arrangement of the words has given the utterance an epigrammatic character. This device may be classed as lexical chiasmus or chiasmatic repetition. Syntactical chiasmus is sometimes used to break the monotony of parallel constructions. But whatever the purpose of chiasmus, it will always bring in some new shade of meaning or additional emphasis on some portion of the second part. Like parallel construction, chiasmus contributes to the rhythmical quality of the utterance.
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Chiasmus /kai’æ zmə s/ хиазм – is a reversed parallelism. The word order in the second sentence or clause is reversed as compared to the first sentence or clause: His jokes were sermons, his sermons were jokes. I love my love and my love loves me. The poetry of grammar and the grammar of poetry. In chiasmus the predicate remains the same and the subject and the object change places.
The coach was waiting, the horses were fresh, the roads were good, and the driver was willing.
Functions: additional emphasis, different shades of meaning, some semantic changes, paradoxes.
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