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Reversed parallel construction
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хиазм
a) reversed parallelism of the structure of several sentences (clauses)
b) <inversion> of the first construction in the second part (V.A.K.)
e.g. If the first sentence (clause) has a direct word order – SPO, the second one will have it inverted – OPS.
e.g. So long as men can breathe or eyes can See
e.g. So long [u]lives this and this gives[/u] life to thee. (W.Shakespeare – XVIII)
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- a group of stylistic devices based on repetition of a syntactical pattern, but it has a cross order of words and phrases;
- reversed parallel construction, the word-order of one of the sentences being inverted as compared with that of the other;
- sometimes achieved by a sudden change from active voice to passive or vice versa;
- is effective in that it helps to lay stress on the second part of the utterence, which is opposite in structure;
- can appear only when there are two successive sentences or coordinate parts of a sentence;
- is sometimes used to break the monotony of parallel constructioins;
- always bring in some new <shade of meaning> or additional emphasis on some portion of the second part;
One cannot help noticing that the first part is somewhat incomplete, it calls for continuation, and the anticipation is rewarded by the second part of the construction, which is, as it were, the completion of the idea.
- contributes to the rhythmical quality of the utterance, and the pause caused by the change in the syntactical pattern may be likened to a caesura in prosody;
Source: <I.R.G.>:209-211
e.g. Down dropped the breeze, // The sails dropped down. (Coleridge)
e.g. As high as we have mounted in delight // In our dejection do we ink as low. (Wordsworth)
See: <parallel construction>, <inversion>, <repetition>, <syntactical SDs>
Syn.: chiasmus, reversed parallel construction
(stylistic) inversion
Inversion
(стилистическая) инверсия
a syntactical <stylistic device> in which the direct word order is changed either completely so that the predicate precedes the subject (complete inversion), or partially so that the object precedes the subject-predicate pair (partial inversion) (V.A.K.)
e.g. Of all my old association, of all my old pursuits and hopes, of all the living and the dead world, this one poor soul alone comes natural to me. (Dickens)
e.g. Women are not made for attack. Wait they must. (J.Conrad)
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aims at attaching logical stress or additional emotional colouring to the surface <meaning> of the utterance (I.R.G.:204)
e.g. Talent Mr. Micawber has; capital Mr. Micawber has not. (Dickens)
e.g. Down dropped the breeze … (Coleridge)
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нарушение обычного порядка следования членов предложения, в результате которого какой-нибудь элемент отказывается выделенным и получает специальные коннотации эмоциональности и экспрессивности (I.V.A.)
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- full inversion
e.g. Love he did her surely. (Th. Dreiser)
e.g. On the terrace stood a knot of distinguished visitors. (Huxley)
e.g. In one corner sat the band … (Huxley)
e.g. On the corner, waiting for a bus, had stood a young woman. (Buechner)
e.g. And only then will you truly joined the common European home … (David Atkinson)
e.g. Strange is the heart of woman. (S. Leacock)
- partial inversion
e.g. To a medical student the final examinations are something like death... (R.Gordon) – Для студента-медика выпускные экзамены – смерти подобны...
e.g. Money he had none.. (E. Gaskell) – Денег у него не было ни гроша.
e.g. Misty mountains they saw. (L. Sinclair)
e.g. This he knew very well. A pretty paradise did we build for ourselves. (Thackeray)
e.g. Terrible it had been! (K. Mansfield)
See: <chiasmus>, <ellipsis>, <syntactical SDs>
Suspense
a deliberate postponement of the completion of the sentence with the help of embedded clauses (homogeneous members) separating the predicate from the subject and introducing less important facts and details first, while the expected information of major importance is reserved till the end of the sentence (utterance) (V.A.K.)
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a compositional device which consists in arranging the matter of a communication in such a way that the less important, descriptive, subordinate parts are amassed at the beginning, the main idea being withheld till the end of the sentence (I.R.G.:218)
e.g. Mankind, says a Chinese manuscript, which my friend M. was obliging enough to read and explain to me, for the first seventy thousand ages ate their meat raw. (Ch.Lamb)
e.g. Only when, after a few minutes, he \[the monkey\] ceased spinning and simply crouched in the pale light, bouncing softly up and down, his fingers digging into the carpet, his tail curled out stiff, did he start to speak to them. (Buechner).
See: <periodic sentences>, <syntactical SDs>
Detachment
Detached construction
a <stylistic device> based on singling out a secondary member of the sentence with the help of punctuation (intonation) (V.A.K.)
e.g. I have to beg you nearly killed, ingloriously, in a jeep accident. (I.Shaw)
e.g. I have to beg you for money. Daily. (S.Lewis)
e.g. She was crazy about you. In the beginning. (R.P.Warren)
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placing one of the secondary parts of a sentence by some specific consideration of the writer so that it See ms formally independent of the word it logically refers to.
The detached part, being torn away from its referent, assumes a greater degree of significance and is given prominence by intonation.
Source: <I.R.G.>: 205
e.g. Daylight was dying, the moon rising, gold behind the poplars. (Galsworthy)
e.g. ‘I want to go’ he said, miserable. (Galsworthy)
See: <attachment>, <parenthesis>, <syntactical SDs>
Syn.: detachment, detached construction
Completeness of sentence structure
includes: <ellipsis>, <apokoinu constructions>, <break-in-the-narrative> or <aposiopesis>
See: <types of connection>, <syntactical SDs>
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Ellipsis
эллипсис
a deliberate omission of at least one member of the sentence
e.g. What! all my pretty chickens and their dam at one fell swoop? (W.Shakespeare)
e.g. In manner, close and dry. In voice, husky and low. In face, watchful behind a blind. (Dickens)
e.g. His forehead was narrow, his face wide, his head large, and his nose all one side. (Dickens)
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omission of certain members of the sentence
- is typical phenomenon in conversation
- always imitates the common features of colloquial language
e.g. So Justice Oberwaltzer – solemnly and didactically from his high seat to the jury. (Dreiser)
Source: <I.R.G.>
See: <inversion>, <completeness of sentence structure>
Apokoinu constructions
Apo-koinu constructions
Greek "with a common element"
the omission of the pronominal (adverbial) connective
- create a blend of the main and the subordinate clauses so that;
- the predicative or the object of the first one is simultaneously used as the subject of the second one;
Source: <V.A.K.>
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the peculiar introducer or demonstrative construction whose attributive semi-clause has a finite verb predicate
- specific semi-complex sentence;
- formed much on the pattern of common subject overlapping;
- should be classed as a familiar colloquialism of occasional use; Source: (Blokh)
e.g. There was a door led into the kitchen. (Sh. Anderson)
e.g. He was the man killed that deer. (R. Warren)
e.g. There was no breeze came through the door. (E.Hemingway)
e.g. I bring him news will raise his dropping spirits. (O. Jespersen)
e.g. … or like the snow falls in the river. (O. Jespersen)
e.g. … when at her door arose a clatter might awake the dead. (O. Jespersen)
e.g. It was you insisted on coming, because you didn't like restaurants. (S. O'Casey)
e.g. He's the one makes the noise at night. (E. Hemingway)
e.g. And there's nothing more can be done. (A. Christie)
See: <ellipsis>, <completeness of sentence structure>
Break-in-the-narrative
Aposiopesis
апОзиопезис
“a stopping short for rhetorical effect” (I.R.G.)
- used mainly in the dialogue or in the other forms of narrative imitating spontaneous oral speech because the speaker’s emotions prevent him from finishing the sentence (V.A.K.)
e.g. You just come home or I’ll...
e.g. Good intentions, but...
e.g. If you continue your intemperate way of living, in six months’ time...
e.g. What I had See n of Patti didn’t really contradict Kitty’s view of her: a girl who means well, but. (D.Uhnak)
See: <completeness of sentence structure>
Syn.: break-in-the-narrative, aposiopesis
Types of connection
include: <polysyndeton>, <asyndeton>, <attachment>, <gap-sentence link>
See: <enumeration>, <completeness of sentence structure>
Polysyndeton
многосоюзие, полисиндетон
repeated use of conjunctions
- is to strengthen the idea of equal logical/emotive importance of connected sentences
e.g. By the time he had got all the bottles and dishes and knives and forks and glasses and plates and spoons and things piled up on big trays, he was getting very hot, and red in the face, and annoyed. (A.Tolkien)
e.g. Bella soaped his face and rubbed his face, and soaped his hands and rubbed his hands, and splashed him, and rinsed him, and towelled him, until he was as red as beetroot. (Dickens)
Source: <V.A.K.>
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the <SD> of connecting sentences, or phrases, or syntagms, or words by using connectives (mostly conjunctions and prepositions) before each component part
- makes an utterance more <rhythm>ical; so much so that prose may even See m like verse
- has a disintegrating function (generally combines homogeneous elements of thought into one whole resembling enumeration);
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- causes each member of a string of facts to stand out conspicuously unlike <enumeration>, which integrates both homogeneous and heterogeneous elements into one whole
e.g. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. (Dickens)
Source: <I.R.G.>
Ant.: <asyndeton>
See: <attachment>, <enumeration>, <repetition>, <types of connection>
Asyndeton
асИндетон
deliberate omission of conjunctions, cutting off connecting words
- helps to create the effect of terse, energetic, active prose. (V.A.K.)
e.g. With these hurried words Mr. Bob Sawyer pushed the postboy on one side, jerked his friend into the vehicle, slammed the door, put up the steps, wafered the bill on the street-door, locked it, put the key into his pocket, jumped into the dickey, gave the word for starting. (Dickens)
e.g. It \[a provincial city\] is full of dirty blank spaces, high black walls, a gas holder, a tall chimney, a main road that shakes with dust and lorries. (J.Osborne - Entertainer)
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connection between parts of a sentence or between sentences without any formal sign, becomes a <SD>, if there is deliberate omission of the connective where it is generally expected to be according to the norms of the literary language (I.R.G.)
e.g. Soames turned away; he had an utter disinclination for talk, like one standing before an open grave, watching a coffin slowly lowered. (Galsworthy)
Ant.: <polysyndeton>
See: <attachment>, <types of connection>
Attachment
separating the second part of the utterance from the first one by full stop though their semantic and grammatical ties remain very strong (V.A.K.)
e.g. It wasn’t his fault. It was yours. And mine. I now humbly beg you to give me the money with which to buy meals for you to eat. And hereafter do remember it: the next time I shan’t beg. I shall simply starve. (S.Lewis)
e.g. Prison is where she belongs. And my husband agrees one thousand per cent. (T.Capote)
e.g. He is a very deliberate, careful guy and we trust each other completely. With a few reservations. (D.Uhnak)
See: <detachment>, <types of connection>, <punctuation>, <syntactical SDs>
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