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Lecture 9
Syntactical expressive means and stylistic devices.
I.
Stylistic inversion
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Syntactical Expressive Means and Stylistic Devices
However, in modern English and American poetry, as has been shown elsewhere, there
appears a definite tendency to experiment with the word-order to the extent which may
even render the message unintelligible, In this case there may be an almost unlimited
number of rearrangements of the members of the sentence.
Detached construction
In the English language detached constructions are generally used in the belles-lettres
prose style and mainly with words that have some explanatory function, for example:
"June stood in front, fending off this idle curiosity a little bit of a thing, as somebody
said, 'all hair and spirit'..."
(Galsworthy)
Detached construction as a stylistic device is a typification of the syntactical peculiarities
of colloquial language.
Detached construction is a stylistic phenomenon which has so far been little
investigated.
A variant of detached construction is p a re n t h e sis,
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Syntactical Expressive Means and Stylistic Devices
Parallel Construction
Parallel construction is a device which may be encountered not so much in the
sentence as in the macro-structures dealt paragraphs and so on. The necessary
condition in parallel construction is identical, or similar, syntactical structure in two or
more sentences or parts of a sentence in close succession, as in:
"There were, ..., real silver spoons to stir the tea with, and real china cups to drink it out
of, and plates of the same to hold the cakes and toast in." (Dickens)
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, as in:
"It is the mob that labour in your fields and serve in your housesthat man your navy
and recruit your army,that have enabled you to defy all the world, and can also defy
you when neglect and calamity have driven them to despair." (Byron)
The attributive clauses here all begin with the subordinate conjunction that which is
followed by a verb in the same form, except the last (have enabled). The verbs,
however, are followed either by adverbial modifiers of place (in your fields, in your
houses] or by direct objects (your navy, your army). The third attributive clause is not
built on the pattern of the first two, although it preserves the parallel structure in general
(that+verb-predicate+object), while the fourth has broken away entirely.
Complete parallel arrangement, also called balance, maintains the principle of identical
structures throughout the corresponding sentences, as in:
"The seeds ye sow another reaps, The robes ye weaveanother wears, The arips
ye forge another bears."
(P. B. Shelley)
Parallel construction is most frequently used in enumeration, antithesis and in climax,
thus consolidating the general effect achieved by these stylistic devices.
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Syntactical Expressive Means and Stylistic Devices
Parallel construction is used in different styles of writing with slightly different functions.
When used in the matter-of-fact styles, it carries, in the main, the idea of semantic
equality of the parts, as in scientific prose, where the logical principle of arranging ideas
predominates. In the belles-lettres style parallel construction carries an emotive
function. That is why it is mainly used as a technical means in building up other stylistic
devices, thus securing their unity.
Enumeration
Enumeration is a stylistic device by which separate things, objects, phenomena,
properties, actions are named one by one so that they produce a chain, the links of
which, being syntactically in the same position (homogeneous parts of speech), are
forced to display some kind of semantic homogeneity, remote though it may seem.
Most of our notions are associated with other notions due to some kind of relation
between them: dependence, cause and result, likeness, dissimilarity, sequence,
experience (personal and/or social), proximity, etc.
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Syntactical Expressive Means and Stylistic Devices
In fact, it is the associations plus social experience that have resulted in the formation of
what is known as "semantic fields." Enumeration, as an SD, may be conventionally
called a sporadic semantic field, inasmuch as many cases of enumeration have no
continuous existence in their manifestation as semantic fields do. The grouping of
sometimes absolutely heterogeneous notions occurs only in isolated instances to meet
some peculiar purport of the writer.
"Scrooge was his sole executor, his sole administrator, his sole residuary legatee, his
sole friend and his sole mourner." (Dickens)
"The principal production of these towns... appear to be soldiers, sailors, Jews, chalk,
shrimps, officers and dock-yard men"(Dickens, "Pickwick Papers")
Suspense
Suspense is arranging the matter of a communication in such a way that
the less important, subordinate parts are amassed at the beginning, the
main idea being withheld till the end of the sentence. Thus the reader's
attention is held and his interest is kept up.
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." (Charles Lamb)
Climax (Gradation)
Climax (Gradation) is an arrangement of sentences (or homogeneous
parts of one sentence) which secures a gradual increase in significance,
importance, or emotional tension in the utterance.
E.g.: "Little by little, bit by bit, and day by day, and year by year the
baron got the worst of some disputed question." (Dickens)
A gradual increase in significance may be maintained in three ways: logical, emotional
and quantitative.
Logical l i m is based on the relative importance of the component parts looked at
from the point of view of the concepts embodied in them. This relative importance may
be evaluated both objectively and subjectively, the author's attitude towards the objects
or phenomena in question being disclosed. Thus, the following paragraph from
Dickens's "Christmas Carol" shows the relative importance in the author's mind of the
things and phenomena described:
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Syntactical Expressive Means and Stylistic Devices
"Nobody ever stopped him in the street to say, with gladsome looks, 'My dear Scrooge,
how are you? When will you come to see me?' No beggars ignored him to bestow a
trifle, no children asked him what it -was o'clock, no man or woman ever once in all his
life inquired the way to such and such a place, of Scrooge. Even the blind men's dogs
appeared to know him, and when they saw him coming on, would tug their owners into
doorways and up courts; and then would wag their tails, as though they said, 'No eye at
all is better than #n evil eye, dark master!'"
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Syntactical Expressive Means and Stylistic Devices
c) the connotative constituent: the explanatory context which helps the reader to grasp
the gradation, as no... ever once in all his life, nobody ever, nobody, No beggars
(Dickens); deep and wide, horrid, dark and tall (Byron); veritable (gem of a city).
Climax, like many other stylistic devices, is a means by which the author discloses his
world, outlook, his evaluation of objective facts and phenomena. The concrete
stylistic function of this device is to show the relative importance of things as seen by
the author (especially in emotional climax), or to impress upon the reader the
significance of the things described by suggested comparison, or to depict
phenomena dynamically.
Anticlimax is an arrangement of ideas in ascending order of significance,
or they may be poetical or elevated, but the final one, which the reader
expects to be the culminating one, as in climax, is trifling or farcical.
There is a sudden drop from the lofty or serious to the ridiculous.
E.g.: "This war-like speech, received with many a cheer, Had filled them
with desire of flame, and beer." (Byron)
Suspense and climax sometimes go together. In this case all the information
contained in the series of statement-clauses preceding the solution-statement are
arranged in the order of gradation.
Antithesis
Antithesis is based on relative opposition which arises out of the context
through the expansion of objectively contrasting pairs.
E.g.: "A saint abroad, and a devil at home." (Bunyan) "Better to reign in
hell than serve in heaven." (Milton)
Antithesis is a structure consisting of two steps, the lexical meanings of
which are opposite to each other.
E.g.: In marriage the upkeep of a woman is often the downfall of a man.
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