CHAPTER III.

STYLISTIC SYNTAX
Syntactical SD deal with the syntactical arrangement of the utterance which creates
the emphasis of the latter irrespective of the lexical meanings of the employed
units.
It should be observed here that oral speech is normatively more emphatic than the
written type of speech. Various syntactical structures deliberately employed by the
author as SD for the creation of the proper effect, in oral speech are used
automatically as a norm of oral intercourse and are not to be considered SD. But
when these syntactical oral norms are intentionally imitated by the writer to
produce the effect of authenticity and naturalness of dialogue we may speak of his
preliminary deliberate choice of the most suitable structures and of their
preconceived usage, i.e. syntactical norms of oral speech, interpreted and arranged
by the writer, become SDs in belles-lettres style. Though, while analysing them we
should always keep in mind that their employment as SD is secondary to their
normative usage in oral speech and that their primary function as SD is to convey
the effect of ease and naturalness of the characters' speech.
SEMINAR VII. COMPRESSION & REDUNDANCY
ECONOMY
In ellipsis, which is the omission of one of the main members of a sentence, we
must differentiate the one used in the author's narration to change its tempo and
condense its structure from the one used in personages' speech to reflect the oral
norms and create the effect of naturalness and authenticity of the dialogue.
Asyndeton, like polysyndeton, is a type of syntactical connection but unlike
polysyndeton, offers no conjunctions or connecting words for this purpose. Hence
the difference in functions: asyndeton is used mostly to indicate tense, energetic,
organized activities or to show the succession of minute, immediately following
each other actions. Opening the story (the passage, the chapter), asyndeton helps to
give a laconic and at the same time detailed introduction into the action proper.
Apokoinu construction, characteristic of irregular oral speech, presents a blend of
two clauses into one, which is achieved at the expense of the omission of the
connecting word and the double syntactical function acquired by the unit
occupying the linking position between both former clauses: thus, "I'm the first one
saw her," presents the blend of the complex sentence "I'm the first one who saw
her." Due to its contraction into the apokoinu construction syntactical functions of
"the first one" – predicative of the first clause, and "who" – subject of the second
one – are both attributed to "the first one" which becomes the syntactical centre of
the newly coined sentence.
The main stylistic function of apokoinu constructions is to emphasize the irregular,
careless or uneducated character of the speech of personages.
Sudden break in the narration, or aposiopesis, is a norm of excited oral speech. As
a SD it is used to indicate strong emotions paralyzing the character's speech or his
deliberate stop in the utterance to conceal its meaning. Certain phrases, often
repeated with the intonation of the nonfinished sentence, become trite aposiopeses.
They indicate that the speaker's idea of the possible continuation of the utterance
exists in a very general, non-detailed, vague form. (Cf. "Well, I never!" reads
approximately "Well, I never expected it"; "I never thought oi it"; "I never imag-
ined it", etc.)
Ellipsis and One-Member Sentences
I. Discuss the nature of the following elliptical and one-member sentences.
1. Fast asleep – no passion in the face, no avarice, no anxiety, no wild desire; all
gentle, tranquil, and at peace. (D.)
2. Pain and discomfort – that was all the future held. And meanwhile ugliness,
sickness, fatigue. (A. H.)
3. A poor boy ... No father, no mother, no any one. (D.)
4. I'm afraid you think I'm conservative. I am. So much to conserve. All this
treasure of American ideals. Sturdiness and democracy and opportunity. Maybe
not at Palm Beach. But, thank heaven, we're free from such social distinctions in
Gopher Prairie. (S. L.)
5. Not that I give a hoot about jewelry. Diamonds, yes. But it's tacky to wear
diamonds before you're forty; and even that's risky. They only look right on the
really old girls. Maria Ouspenskaya. Wrinkles and bones, white hair and diamonds.
(Т. С.)
6. Inspector Badgworthy in his office. Time, 8.30 a.m. A tall portly man, Inspector
Badgworthy, with a heavy regulation tread. Inclined to breathe hard in moments of
professional strain. In attendance Constable Johnson, very new to the Force, with a
downy unfledged look about him, like a human chicken. (Ch.)
7. We have never been readers in our family. It don't pay. Stuff. Idleness. Folly.
No, no! (D.)
8. A black February day. Clouds hewn of ponderous timber weighing down on the
earth; an irresolute dropping of snow specks upon the trampled wastes. Gloom but
no veiling of angularity. The lines of roofs and sidewalks sharp and inescapable.
The second day of Kennicott's absence . . . (S. L.)
9. A dark gentleman ... A very bad manner. In the last degree constrained,
reserved, diffident, troubled. (D.)
10. "What sort of a place is Dufton exactly?"
"A lot of mills. And a chemical factory. And a Grammar school and a memorial
and a river that runs different colours each day. And a cinema and fourteen pubs.
That's really all one can say about it." (J. Br.)
11. "Them big-assed folks is dumb!" Emphatic judgement.
"Dumb ain't no word for 'em! They just like us, but they too damned mean to admit
it!" Hilarious agreement.
"They scared to death of us. They know if they give us half a chance, we'd beat
'em!" Uttered with sage confidence ...
"Fish, you so quiet and wise." A memorized smile.
"I didn't want to mess up my plans with no trouble with white folks." A
spontaneous lie ...
"Gee, Fish, you lucky." Crooned admiration.
"Aw, that's nothing." Hinting at undisclosed marvels. (Wr.)
II. State the functions of the following ellipses. Indicate most frequently omitted
members of the sentence.
1. And if his feelings about the war got known, he'd be nicely in the soup.
Arrested, perhaps – got rid of, somehow. (A.)
2. What happiness was ours that day, what joy, what rest, what hope, what
gratitude, what bliss! (D.)
3. "I have noticed something about it in the papers. Heard you mention it once or
twice, now I come to think of it." (B. Sh.)
4. "Very windy, isn't it?" said Strachan, when the silence had lasted some time.
"Very," said Wimsey.
"But it's not raining," pursued Strachan.
"Not yet," said Wimsey.
"Better than yesterday," said Strachan . . .
"Tons better. Really you know, you'd think they'd turned on the water-works
yesterday on purpose to spoil my sketching party."
"Oh, well," said Strachan.
"How long have you been on that?"
"About an hour," said Strachan. (D. S.)
5. "Where mama?"
"She home," his father breathed. (Wr.)
6. "She one of you family or something?"
"Who, the one downstairs? No, she's called Mrs. Davies." (K.A.)
Asyndeton
I. Analyse the following cases of asyndeton, indicating their functions and paying
attention to the quality of units, connected asyndetically.
1. The pulsating motion of Malay Camp at night was everywhere. People sang.
People cried. People fought. People loved. People hated. Others were sad. Others
gay. Others with friends. Others lonely. Some died. Some were born. (P. A.)
2. The mail coach doors were on their hinges, the lining was replaced, the iron-
work was as good as new, the paint was restored, the lamps were alight; cushions
and great coats were on every coach box, porters were thrusting parcels into every
boot, guards were stowing away letter bags, hostlers were dashing pails of water
against the renovated wheels; numbers of men were rushing about, portmanteaus
were handed up, horses were put to, and in short it was perfectly clear that every
mail there was to be off directly. (D.)
3. "Well, guess it's about time to turn in."
He yawned, went out to look at the thermometer, slammed the door, patted her
head, unbuttoned his waistcoat, yawned, wound the clock, went to look at the
furnace, yawned, and clumped upstairs to bed, casually scratching his thick woolen
undershirt. (S. L.)
4. Through his brain, slowly, sifted the things they had done together. Walking
together. Dancing together. Sitting silent together. Watching people together. (P.
A.)
5. 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 in his pocket, jumped into the dickey,
gave the word for starting… (D.)
Apокоinu Construction
I. Indicate the type of complex sentences contracted into the following apokoinu
constructions. Suggest conjunctions and connecting words which might haye
joined former clauses.
1. I'm the first one saw her. (T. C.)
2. It was I was a father to you. (S. B.) :
3. He's the one makes the noise at night. (H.)
4. He would show these bums who it was kept them, fed. (J.)
5. It was Sponge told Bruce who was in the car. (Sh.A.)
6. I didn't transfer. I was transferred. It was Houston did it because I spoke my
piece. (J.)
7. There's no one enjoys good food more than he does. (S. M.)
8. You'd be surprised at the times we do get our man – sometimes after several
years. It's patience does it – patience and never letting up. (Ch.)
9. It was then he took the plunge. (S. B.)
10. I love Nevada. Why, they don't even have mealtime here. I never met so many
people didn't own a watch. (A. M.)
11. There was a door led into the kitchen. (Sh.A.)
12. There was no breeze came through the door. (H.)
13. Everyone found him attractive. It was his temper let him down. (Ch.)
14. It was then he met Stella. (S. M.)
15. There was a whisper in my family that it was love drove him out, and not love
of the wife he married. (St.)
Apоsiореsis
I. Comment on the syntactical distribution of the following cases of aposiopesis
and on the causes which necessitated them. Suggest the implied meaning of trite
aposiopeses.
1. He would have to stay. Whatever might happen, that was the only possible way
to salvation – to stay, to trust Emily, to make himself believe that with the help of
the children… (P. Q.)
2. Paritt: Well, they'll get a chance now to show – (Hastily) I don't mean – But let's
forget that. (O.'N.)
3. "She must leave – or – or, better yet – maybe drown herself – make away with
herself in some way – or – " (Dr.)
4. "Shuttleworth, I—I want to speak to you in—in strictest confidence—to ask
your advice. Yet—yet it is upon such a serious matter that I hesitate—fearing—"
(W. Q.)
5. Paritt: I told her, "You've always acted the free woman, you've never let any
thing stop you from – " (He checks himself—goes on hurriedly.) That' made her
sore. (O'N.)
6. And it was so unlikely that any one would trouble to look there—until—until—
well. (Dr.)
7. "It is the moment one opens one's eyes that is horrible at sea. These days! Oh,
these days! I wonder how anybody can . . ." (J. C.)
8. What about the gold bracelet she'd been wearing that afternoon, the bracelet
he'd never seen before and which she'd slipped off her wrist the moment she
realized he was in the room? Had Steve given her that? And if he had. . . (P.Q.)
9. Oh, that's what you are doing. Well, I never. (K. A.)
10. "But, John, you know I'm not going to a doctor. I've told you."
"You're going—or else." (P. Q.)
11. …shouting out that he'd come back that his mother had better have the money
ready for him. Or else! That is what he said: "Or else!" It was a threat. (Ch.)
12. "So you won't come at all?!"
"I don't yet know. It all depends." (P.)
13. "Will you ever change your mind?" "It depends, you know." (T. C.)
REDUNDANCY
The function and impact of repetition depends upon the position occupied by the
repeated unit. Thus, we can distinguish (a) ordinary repetition, (b) anaphora, (c)
epiphora, (d) framing, (e) anadiplosis (catch-repetition), (f) chain repetition.
We should not forget also morphological repetition when (mainly to achieve
humorous effect) a morpheme is repeated.
Repetition, involving the whole structure of the sentence is called parallelism and
is differentiated into complele parallelism, presenting identical structures of two or
more successive clauses or sentences, and partial parallellism, in which the
repeated sentence-pattern may vary.
Chiasmus is also called reversed parallelism, for into its pattern two sentences are
included, of which the second necessarily repeats the structure of the first, оnly in
reversed manner, so that the general formula of chiasmus may be fixed as follows:
SPO, OPS.
Polysyndeton is also a kind of repetition – here conjunctions or connecting words
are repeated. The repetition of "and", e. g., mainly creates the atmosphere of bustl-
ing activity; the repetition of "or" serves either to stress equal importance of
enumerated factors or to emphasize the validity of the indicated phenomenon
regardless of its varying denominations by various parties concerned, etc.
Repetition
I. Classify the following cases of repetition according to the position occupied by
the repeated unit. State their functions.
1. Heroes all. Natural leaders. Morrows always been leaders, always been
gentlmen. Oh, take a drink once in a while but always like Morrows. Always know
how to make heroic gestures – except me – how to knock their wifes up with good
Morrow sons – how to make money without looking like they even give a damn.
Oh the Morrows and the Morrows and the Morrows and the Morrows, to the last
syllable of recorded time – (T. H.)
2. …the photograph of Lotta Lindbeck he tore into small bits across and across and
across. (E. F.)
3. I wanted to knock over the table and hit him until my arm had no more strength
in it, then give him the boot, give him the boot, give him the boot – I drew a deep
breath . . . (J. Br.)
4. There seemed to be no escape, no prospect of freedom. "If I had a thousand
pounds," thought Miss Fulkes, "a thousand pounds. A thousand pounds." The
words were magical. "A thousand pounds." (A. H.)
5. One may see by their footprints that they have not walked arm in arm; and that
they have not walked in a straight track, and that they have walked in a moody
humour. (D.)
6. It were better that he knew nothing. Better for common sense, better for him,
better for me. (D.)
7. He sat, still and silent, until his future landlord accepted his proposals and
brought writing materials to complete the business. He sat, still and silent, while
the landlord wrote. (D.)
8. The whitewashed room was pure white as of old, the methodical book-keeping
was in peaceful progress as of old, and some distant howler was hanging against a
cell door as of old. (D.)
9. I wake up and I'm alone, and I walk round Warley and I'm alone, and I talk with
people and I'm alone and I look at his face when I'm home and it's dead. . . (J. Br.)
10. He ran away from the battle. He was an ordinary human being that didn't want
to kill or be killed, so he ran away from the battle. (St. H.)
11. …they took coach and drove westward. Not only drove westward, but drove
into that particular westward division, which Bella had seen last when she turned
her face from Mr. Boffin's door. Not only drove into that particular division, but
drove at last into that very street. Not only drove into that very street, but stopped
at last at that very house. (D.)
12. Failure meant poverty, poverty meant squalor, squalor led, in the final stages,
to the smells and stagnation of B. Inn Alley. (D. du M.)
13. If he had acted guilty they would have had him. But he had carried it off. He
had carried it off, and it was the private who had come out as the guilty party.
14. Mr. Winkle is gone. He must be found, Sam—found and brought back to me.
(D.)
15. …all was old and yellow with decay. And decay was the smell and being of
that room. (B. D.)
16. You know – how brilliant he is, what he should be doing. And it hurts me. It
hurts me every day of my life. (W.D.)
17. If you have anything to say, say it, say it. (D.)
II. Classify the following cases of morphological repetition according to the place
of the repeated morpheme and the function of repetition.
1. She unchained, unbolted, and unlocked the door. (A. B.)
2. "You, Sir," said Snawley, addressing the terrified Smike, "are an unnatural,
ungrateful, unloveable boy."
3. Young Blight made a great show of fetching from his desk a long thin
manuscript volume with a brown paper cover, and running his finger down the
day's appointments, murmuring, "Mr. Aggs, Mr. Baggs, Mr. Daggs, Mr. Faggs,
Mr. Gaggs, Mr. Boffin. Yes, Sir, quite right. You are a little before your time, sir."
Young Blight made another great show of changing the volume, taking up a pen,
sucking it, dipping it, and running over previous entries before he wrote. As, "Mr.
Alley, Mr. Bailey, Mr. Calley, Mr. Dalley, Mr. Falley, Mr. Galley, Mr. Halley, Mr.
Kalley, Mr. Malley. And Mr. Boffin." (D.)
4. …it's all the chatting and the feeding and the old squiring and the toing and
froing that runs away with the time. (K.A.)
5. Laughing, crying, cheering, chaffing, singing, David Rossi's people brought him
home in triumph. (H. C.)
6. There was then... a calling over of names, and great work of singeing, sealing,
stamping, inking, and sanding, with exceedingly blurred, gritty and undecipherable
results. (D.)
7. The precious twins – untried, unnoticed, undirected – and I say it quiet with my
hands down – undiscovered. (S.)
8. I'm an undersecretary in an underbureau. (I. Sh.)
9. All colours and blends of Americans have somewhat the same tendencies. It's a
breed selected out by accident. And so we are overbrave and overfearful – we're
kind and cruel as children. We're overfriendly and at the same time frightened of
strangers… We're oversentimental and realistic. (St.)
10. The procession then re-formed; the chairmen resumed their stations; and the
march was re-commenced. (D.)
11. Force of police arriving, he recognized in them the conspirators, and laid about
him hoarsely, fiercely, staringly, convulsively, foamingly. (D.)
12. The doctor's friend was in the positive degree of hoarsness, red-facedness, all-
fours, tobacco, dirt and brandy; the doctor in the comparative – hoarser, puffier,
more red-faced, more all-foury, tobaccoer, dirtier and brandier. (D.)
13. "She says – you know her way – she says, 'You're the chickenest-hearted,
feeblest, faintest man I ever see." (D.)
14. He had always been looked up to as a high authority on all matters of
amusement and dexterity, whether offensive, defensive or inoffensive. (D.)
15. The guides called to the mules, the mules pricked up their drooping heads, the
travellers' tongues were loosened, and in a sudden burst of slipping, climbing,
jingling, clinking and talking, they arrived at the convent door. (D.)
16. …the gloomy Cathedral of Our Lady… without the walls, encompassing Paris
with dancing, love-making, wine-drinking, tobacco-smoking, tomb-visiting,
billiard- card- and domino-playing, quack-doctoring... (D.)
Parallelism
I. Classify the following parallel constructions into complete and partial
parallelism:
1. It was Mr. Squeers's custom to ... make a sort of report … regarding the relations
and friends he had seen, the news he had heard, the letters he had brought down,
the bills which had been paid, the accounts which had been unpaid, and so forth.
(D.)
2. It is the fate of most men who mingle with the world and attain even in the
prime of life, to make many real friends, and lose them in the course of nature. It is
the fate of all authors or chroniclers to create imaginary friends, and lose them in
the course of art. (D.)
3. You know I am very grateful to him; don't you? You know I feel a true respect
for him … don't you? (D.)
4. …their anxiety is so keen, their vigilance is so great, their excited joy grows so
intense as the signs of life strengthen, that how can she resist it! (D.)
5. "If you are sorrowful, let me know why, and be sorrowful too; if you waste
away and are paler and weaker every day, let me be your nurse and try to comfort
you. If you are poor, let us be poor together; but let me be with you." (D.)
6. What is it? Who is it? When was it? Where was it? How was it? (D.)
7. The coach was waiting, the horses were fresh, the roads were good, and the
driver was willing. (D.)
8. The Reverend Frank Milvey's abode was a very modest abode, because his
income was a very modest income. (D.)
9. …they all stood, high and dry, safe and sound, hale and hearty, upon the steps of
the Blue Lion. (D.)
10. The expression of his face, the movement of his shoulders, the turn of his
spine, the gesture of his hands, probably even the twiddle of his toes, all indicated
a half-humorous apology. (S. M.)
11. The one was all the other failed to be. Protective, not demanding; dependable,
not weak; low-voiced, never strident… (D. duM.)
12. The sky was dark and gloomy, the air damp and raw, the streets wet and
sloppy. (D.)
II. State what other syntactical stylistic means are used alongside with the
following cases of parallelism.
1. He was a sallow man – all cobblers are; and had a strong bristly beard – all
cobblers have. (D.)
2. You missed a friend, you know; or you missed a foe, you know; or you wouldn't
come here, you know. (D.)
3. Through all the misery that followed this union; through all the cold neglect and
undeserved reproach; through all the poverty he brought upon her; through all the
struggles of their daily life… she toiled on. (D.)
4. It's only an adopted child. One I have told her of. One I'm going to give the
name to. (D.)
Chiasmus
I. Discuss the following cases of chiasmus.
1. I know the world and the world knows me. (D.)
2. Mr. Boffin looked full at the man, and the man looked full at Mr. Boffin. (D.)
3. There are so many sons who won't have anything to do with their fathers, and so
many fathers who won't speak to their sons. (O. W.)
4. I looked at the gun, and the gun looked at me. (R. Ch.)
5. His dislike of her grew because he was ashamed of it ... Resentment bred shame,
and shame in its turn bred more resentment. (A. H.)
6. For the former her adoration was ecstatic and therefore blind; her admiration for
the latter, although equally devoted, was less uncritical. (V.)
7. Well! Richard said that he would work his fingers to the bone for Ada, and Ada
said that she would work her fingers to the bone for Richard. (D.)
Polysyndeton
I. State the functions of the following examples of polysyndeton. Pay attention to
the repeated conjunction and the number of repetitions.
1. And the coach, and the coachman, and the horses, rattled, and jangled, and
whipped, and cursed, and swore, and tumbled on together, till they came to Golden
Square. (D.)
2. And they wore their best and more colourful clothes. Red shirts and green shirts
and yellow shirts and pink shirts. (P. A.)
3. 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
beet-root. (D.)
4. …Then from the town pour Wops and Chinamen and Polaks, men and women
in trousers and rubber coats and oilcloth aprons. They come running to clean and
cut and plack and cook and can the fish. The whole street rumbles and groans and
screams and rattles while the silver rivers of fish pour in out of the boats and the
boats rise higher and higher in the water until they are empty. The canneries
rumble and rattle and squeak until the last fish is cleaned and cut and cooked and
canned and then the whistles scream again and the dripping smelly tired Wops and
Chinamen and Polaks, men and women- straggle out and droop their ways up the
hill into the town and Cannery Row becomes itself again – quiet and magical. (St.)
5. Mr. Richard, or his beautiful cousin, or both, could sign something, or make
over something, or give some sort of undertaking, or pledge, or bond? (D.)
6. First the front, then the back, then the sides, then the superscription, then the
seal, were objects of Newman's admiration. (D.)

SEMINAR VIII. REDISTRIBUTION & TRANSPOSITION

REDISTRIBUTION
Inversion deals with the displacement of the predicate (which is the case complete
inversion) or with the displacement of secondary members of the sentence (which
is the case of partial inversion) and their shift into the front, opening position in
the sentence.
The structure of questions as we know is characterized by the grammatically
inverted word order. If direct word order is re-established in questions, we can
speak of secondary inversion (i. e. inversion of inversion). Thus inverted questions
(i. e. questions with direct word order) beyond conveying the tone and manner of
the speaker also, due to the changed structure, acquire the connotational meaning
of the questioner's awareness of the possible nature of the expected answer.
Through detachment secondary members of the sentence acquire independent
stress and intonation which leads to their emphatic intensification. The effect is the
strongest if detached members are isolated from the rest of the sentence by full
stops.
Suspense, holding the reader or the listener in tense anticipation, is often realized
through the separation of predicate from subject or from predicative, by the delib-
erate introduction between them of a phrase, clause or sentence (frequently
parenthetic).
In climax we observe parallelism consisting of three or more steps, presenting a
row of relative (or contextual relative) synonyms placed in the ascending validity
of their denotational (which results in logical and quantitative climax) or
connotational meanings. The latter type of climax is called emotive and is realized
through still another pattern of a two-step structure, based on repetition of the
semantic centre, usually expressed by an adjective or adverb, and the introduction
of an intensifier between two repeated units, e. g., 'I am sorry, terribly sorry'.
If each step of climax is supplied with a negative particle, that necessitates the
reversed – descending – scale of its components (back-gradation): to emphasize
absence of a certain fact, quality, phenomenon, etc, the row of relative synonyms
begins with the one showing the highest degree of this quality, importance, etc.
Thus the affirmative and the negative constructions of climax demand
diametrically opposite order of the same lexical units, while stylistic functions of
both structural types remain identical.
Sudden reversal of expectations roused by climax (mainly non-completed), causes
anticlimax. The main bulk of paradoxes is based on anticlimax.
Inversion
I. Analyse the following cases of complete and partial inversion. State the
difference between inversion in interrogative and affirmative sentences.
1. Out came the chaise – in went the horses – on sprung the boys – in got the
travellers. (D.)
2. Up came the file and down sat the editor, with Mr. Pickwick at his side. (D.)
3. Women are not made for attack. Wait they must (J.C.)
4. And she saw that Gopher Prairie was merely an enlargement of all the hamlets
which they had been passing. Only to the eyes of a Kennicott was it exceptional.
(S. L.)
5. Calm and quiet below me in the sun and shade lay the old house … (D.)
6. Then he said: "You think it's so? She was mixed up in this lousy business?" (J.
H.)
7. Passage after passage did he explore; room after room did he peep into . . . (D.)
8. Talent Mr. Micawber has. Capital Mr. Micawber has not. (D.)
9. "Her sickness is only grief?" he asked, his difficult English lending the question
an unintended irony. "She is grieving only?"…"She is only grieving?" insisted
Jose. (T. C.)
10. How have I implored and begged that man to inquire into Captain's family
connections; how have I urged and entreated him to take some decisive step. (D.)
Detachment & parcellation
I. Classify the following isolated members according, speak on their syntactical
function. Discuss the punctuation used to isolate the detached members.
1. Each of them carried a notebook, in which whenever the great man spoke, he
desperately scribbled. Straight from the horse's mouth. (A. H.)
2. She narrowed her eyes a trifle at me and said I looked exactly like Celia
Briganza's boy. Around the mouth. (S.)
3. And life would move slowly and excitingly. With much laughter and much
shouting and talking and much drinking and much fighting. (P. A.)
4. "How do'you like the Army?" Mrs. Silsburn asked. Abruptly, conversationally.
(S.)
5. He is alert to his fingertips. Little muffs, silver garters, fringed gloves draw his
attention; he observes with a keen quick glance, not unkindly, and full rather of
amusement than of tensure. (V. W.)
6. The crooks and four-flushers and smart operators everywhere. On the docks. In
the offices. Right up in battalion and company, right up next to you on the front
line. (I. Sh.)
7. "Honestly. I don't feel anything. Except ashamed."
"Please. Are you sure? Tell me the truth. You might have been killed."
"But I wasn't. And thank you. For saving my life. You're wonderful. Unique. I love
you." (Т. С.)
8. A hawk, serene, flows in the narrowing circles above. (A.M.)
9. The people are awful this year. You should see what sits next to us in the dining
room. At the next table. They look as if they drove down in a truck. (S.)
10. I have to beg you for money. Daily! (S. L.)
11. And he stirred it with his pen – in vain. (К. М.)
12. And Fleur – charming in her jade-green wrapper – tucked a corner of her lip
behind a tooth, and went back to her room to finish dressing. (G.)
13. The crow I gave her went wild and flew away. All summer you could hear him.
In the yard. In the garden. In the woods. All summer that damned bird was calling:
"Lulamae, Lulamae." (T. C.)
14. I like people. Not just empty streets and dead buildings. People. People. (P. A.)
Suspense
I. Analyse the manner in which the following cases of suspense are organized.
1. All this Mrs. Snagsby, as an injured woman and the friend of Mrs. Chadband,
and the follower of Mr. Chad-band, and the mourner of the late Mr. Tulkinghorn,
is here to certify. (D.)
2. I have been accused of bad taste. This has disturbed me, not so much for my
own sake (since I am used to the slights and arrows of outrageous fortune) as for
the sake of criticism in general. (S. M.)
3. No one seemed to take proper pride in his work: from plumbers who were
simply thieves to, say, newspapermen (he seemed to think them a specially
intellectual class) who never by any chance gave a correct version of the simplest
affair. (J. C.)
4. "…The day on which I take the happiest and best step of my life – the day on
which I shall be a man more exulting and more enviable than any other man in the
world – the day on which I give Bleak House its little mistress – shall be next
month, then," said my guardian. (D.)
5. "If you had any part – I don't say what – in this attack," pursued the boy, "or if
you know anything about it – I don't say how much – or if you know who did it – I
go no closer – you did an injury to me that's never to be forgiven." (D.)
6. Corruption could not spread with so much success, though reduced into a
system, and though some ministers, with equal impudence and folly, avowed It by
themselves and their advocates, to be the principal expedient by which they
governed; if a long and almost unobserved progression of causes and effects did
not prepare the conjuncture. (Bol.)
Climax
I. Discuss the nature and distribution of the components of logical climax in the
following examples.
1. It was a mistake... a blunder... lunacy... (W.D.)
2. What I have always said, and what I always shall say, is, that this ante-post
betting is a mistake, an error, and a mug's game. (P. Q. W.)
3. And you went down the old steep way... the well-known toboggan run... insane
pride... lies... treachery... murder... (P.)
4. Poor Ferse! Talk about trouble, Dinny—illness, poverty, vice, crime—none of
them can touch mental derangement for sheer tragedy of all concerned. (G.)
5. He was numbed. He wanted to weep, to vomit, to die, to sink away. (A. B.)
6. It is done—past—finished! (D.)
7. "It must be a warm pursuit in such a climate," observed Mr. Pickwick. "Warm! –
red hot! – scorching! – glowing!" (D.)
8. A storm's coming up. A hurricane. A deluge. (Th.W.)
9. I was well inclined to him before I saw him. I liked him when I did see him; I
admire him now. (Ch. Br.)
10. "Say yes. If you don't, I'll break into tears. I'll sob. I'll moan. I'll growl." (Th.
S.)
11. "I swear to God. I never saw the beat of this winter. More snow, more cold,
more sickness, more death." (M.W.)
12. "My nephew, I introduce to you a lady of strong force of character, like myself;
a resolved lady, a stern lady, a lady who has a will that can break the weak to
powder: a lady without pity, without love, implacable..." (D.)
13. "I designed them for each other; they were made for each other, sent into the
world for each other, born for each other, Winkle", said Mr. Ben Allen. (D.)
14. I don't attach any value to money. I don't care about it, I don't know about it, I
don't want it, I don't keep it – it goes away from me directly. (D.)
II. State the nature of the increasing entities in the following examples of
quantitative climax.
1. "You have heard of Jefferson Brick I see, Sir," quoth the Colonel with a smile.
"England has heard of Jefferson Brick. Europe has heard of Jefferson Brick..." (D.)
2. R: "I never told you about that letter Jane Crofut got from her minister when she
was sick. He wrote Jane a letter and on the envelope the address was like this. It
said: Jane Crofut; The Crofut Farm; Grover's Corners; 88 Sutton County; New
Hampshire; United States of America."
G: "What's funny about it?"
R: "But listen, it's not finished: the United States of America; Continent of North
America; Western Hemisphere; the Earth; the Solar System; the Universe; the
Mind of God – that's what it said on the envelope." (Th.W.)
3. How many sympathetic souls can you reckon on in the world? One in ten – one
in a hundred – one in a thousand – in ten thousand? Ah! (J. C)
4. You know – after so many kisses and promises, the lie given to her dreams, her
words ... the lie given to kisses – hours, days, weeks, months of unspeakable
bliss... (Dr.)
III. Classify the following examples of emotive climax according to their structure
and the number of the components.
1. Of course it's important. Incredibly, urgently, desperately important. (D. S.)
2. "I have been so unhappy here, dear brother," sobbed poor Kate; "so very, very
miserable." (D.)
3. The mother was a rather remarkable woman, quite remarkable in her way. (W.
D.)
4. That's a nice girl; that's a very nice girl; a promising girl! (D.)
5. She felt better, immensely better, standing beside this big old man. (W. D.)
6. He who only five months before had sought her so eagerly with his eyes and
intriguing smile. The liar! The brute! The monster! (Dr.)
7. I am a bad man, a wicked man, but she is worse. She is really bad. She is bad,
she is badness. She is Evil. She not only is evil, but she is Evil. (J. O'H.)
8. "An unprincipled adventurer – a dishonourable character – a man who preys
upon society, and makes easily-deceived people his dupes, sir, his absurd, his
foolish, his wretched dupes, sir," said the excited Mr. P. (D.)
9. "I abhor the subject. It is an odious subject, an offensive subject, a subject that
makes me sick." (D.)
10. "I'll smash you, I'll crumble you, I'll powder you. Go to the devil!" (D.)
11. "Upon my word and honour, upon my life, upon my soul, Miss Summerson, as
I am a living man, I'll act according to your wish!" (D.)
12. ...to them boys she is a mother. But she is more than a mother to them, ten
times more. (D.)
13. Mr. Tulkinghorn ... should have communicated to him nothing of this painful,
this distressing, this unlooked-for, this overwhelming, this incredible intelligence."
(D.)
Back-gradation
1. Comment on the influence of the negative particle upon the structure back-
gradation, and the meaning of its components.
1. No tree, no shrub, no blade of grass, not a bird or beast, not even a fish that was
not owned! (G.)
2. "Not a word, Sam—not a syllable!" (D.)
3. Not a word, not a look, not a glance, did he bestow upon his heart's pride of the
evening before. (D.)
4. "Fledgeby has not heard of anything."
"No, there's not a word of news," says Lammle.
"Not a particle," adds Boots.
"Not an atom," chimes in Brewer. (D.)
5. "Be careful," said Mr. Jingle – "not a look."
"Not a wink," said Mr. Tupman.
"Not a syllable. – Not a whisper." (D.)
Anticlimax
I. Speak on the modes of organization of anticlimax. Pay attention to punctuation.
1. "In moments of utter crises my nerves act in the most extraordinary way. When
utter disaster seems imminent, my whole being is simultaneously braced to avoid
it. I size up the situation in a flash, set my teeth, contract my muscles, take a firm
grip of myself, and without a tremor, always do the wrong thing." (B. Sh.)
2. This was appalling—and soon forgotten. (G.)
3. Secretly, after nightfall, he visited the home of the Prime Minister. He examined
it from top to bottom. He measured all the doors and windows. He took up the
flooring. He inspected the plumbing. He examined the furniture. He found nothing.
(L.)
4. Women have a wonderful instinct about things. They can discover everything—
except the obvious. (O. W.)
5. ...they were absolutely quiet; eating no apples, cutting no names, inflicting no
pinches, and making no grimaces, for full two minutes afterwards. (D.)
TRANSPOSITION
Rhetorical question, which is the statement in the form of a question, also
presupposes the possible (though not demanded) answer: the positive form of the
rhetorical question predicts the negative answer, the negative form – the positive
answer.
Represented speech, which combines lexical and syntactical peculiarities of
colloquial and literary speech, has gained widespread popularity especially jn the
20th century, allowing the writer in a condensed and seemingly objective manner
to lead the reader into the inner workings of human mind.
Rhetorical Question
I. Discuss the nature and functions of the following rhetorical questions.
1. Gentleness in passion! What could have been more seductive to the scared,
starved heart of that girl? (J. C.)
2. Why do we need refreshment, my friends? Because we are but mortal, because
we are' but sinful, because we are but of the earth, because we are not of the air?
Can we fly, my friends? We cannot. Why can we not fly? Is it because we are
calculated to walk? (D.)
3. What courage can withstand the everduring and all besetting terrors of a
woman's tongue? (W. I.)
4. But what words shall describe the Mississippi, great father of rivers, who
(praise be to Heaven) has no young children like him? (D.)
5. Dark Sappho! could not verse immortal save That breast imbued with such
immortal fire? Could she not live who life eternal gave? (B.)
6. How should a highborn lady be known from a sunburnt milk-maid, save that
spears are broken for the one, and only hazelpoles shattered for the other? (W. Sc.)
7. . . .but who would scorn the month of June, Because December, with his breath
so hoary, Must come? (B.)
8. Who will be open where there is no sympathy, or has call to speak to those who
never can'linderstand? (Th.)
9. Wouldn't we all do better not trying to understand, accepting the fact that no
human being will ever understand another, not a wife a husband, a lover a mistress,
nor a parent a child? (Gr. Gr.)
Represented Speech
I. Classify the following examples of represented speech into represented inner
and represented uttered speech. Indicate characteristic features (lexical and
grammatical phenomena) of represented inner and represented uttered speech.
1. He looked at the distant green wall. It would be a long walk in this rain, and a
muddy one. He was tired and he was depressed. His toes squelched in his shoes.
Anyway, what would they find? Lot of trees. (J.)
2. Angela, who was taking in every detail of Eugene's old friend, replied in what
seemed an affected tone that no, she wasn't used to studio life: she was just from
the country, you know – a regular farmer girl – Blackwood, Wisconsin, no less!..
(Dr.)
3. ".. .You ought to make a good mural decorator some day, if you have the
inclination," Boyle went on, "You've got the sense of beauty." The roots of
Eugene's hair tingled. So art was coming to him. This man saw his capacity. He
really had art in him. (Dr.)
4. He held the cigarette in his mouth, tasting it, feeling its roundness, for a long
time before he lit it. Then with a sigh, feeling, well, I've earned it, he lit the
cigarette. (I.Sh.)
5. He kept thinking he would write to her—he had no other girl acquaintance now;
and just before he entered art school he did this, penning a little note saying that he
remembered so pleasantly their ride; and when was she coming? (Dr.)
6. "... So I've come to be servant to you." "How much do you want?"
"I don't know. My keep, I suppose." Yes, she could cook. Yes, she could wash.
Yes, she could mend, she could darn. She knew how to shop a market. (D. du M.)
7. She hadn't wanted to marry him or anyone else, for that matter, unless it was
someone like her father. But there was no one like her father. No one she had ever
seen. So, oh, well, what's the diff! You have to get married some time. (E.F.)
8. … the servants summoned by the passing maid without a bell being rung, and
quick, quick, let all this luggage be taken down into the hall and let one of you call
a cab. (J.C.)
9. I then found a couple of stale letters to reread, one from my wife ... and one
from my mother-in-law, asking me to please send her some cashmere yarn. (S.)
10. Then he would bring her back with him to New-York—he, Eugene Witla,
already famous in the East. Already the lure of the big eastern city was in his mind,
its palaces, its wealth, its fame. It was the great world he knew, this side of Paris
and London. He would go to it now, shortly. What would he be there? How great?
How soon? So he dreamed. (Dr.)
11. Angela looked at him with swimming eyes. He was really different from
anything she had ever known, young, artistic, imaginative, ambitious. He was
going out into a world which she had longed for but never hoped to see – that of
art. Here one was telling her of his prospective art studies, and talking of Paris.
What a wonderful thing! (Dr.)
12. Rosita sniffed and in her well-bottom voice declared that yes, it was better that
they stay out of the sun, as it seemed to be affecting Ottilie's head. (Т. С.)
13. Oh, love, love! Edward! Edward! Oh, he would not, could not remain away.
She must see him—give him a chance to explain. She must make him understand
that it was not want of love but fear of life—her father, everything, everybody—
that kept her so sensitive, aloof, remote. (D.)
SELF-STUDY & REVISION III
SYNTACTICAL STYLISTIC DEVICES
1. What with the dust and the oil, and the darkness, and the clanking of the rails
and the spitting of the sparks and the muffled screams above, it was enough to
drive a man crazy. (B. N.)
2. … their owners went away, after many remarks how they had never spent such a
delightful evening, and how they marvelled to find it so late, and how they wished
that Mr. and Mrs. Kenwigs had a wedding-day once a week, and how they
wondered bу what hidden agency Mrs. Kenwigs could possibly have managed so
well. (D.)
3. Badgworthy was in seventh heaven. A murder! At Chimneys! Inspector
Badgworthy in charge of the case. The police have a clue. Sensational arrest.
Promotion and Kudos for the aforementioned Inspector. (Ch.)
4. Daily she determined, "But I must have a stated amount—be business-like.
System. I must do something about it." And daily she didn't do anything about it.
(S. L.)
5. "Give me an example," I said quietly. "Of something that means something. In
your opinion." (Т. С.)
6. I see what you mean. And I want the money. Must have it. (P.)
7. "Sit down, you dancing, prancing, shambling, scrambling fool parrot! Sit
down!" (D).
8. His forehead was narrow, his face wide, his head large, and his nose all on one
side. (D.)
9. He came to us, you see, about three months ago. A skilled and experienced
waiter. Has given complete satisfaction. He has been in England about five years.
(Ch.)
10. She merely looked at him weakly. The wonder of him! The beauty of love! Her
desire toward him! (Dr.)
11. A solemn silence: Mr. Pickwick humorous, the old lady serious, the fat
gentleman cautious and Mr. Miller timorous. (D.)
12. She stopped, and seemed to catch the distant sound of knocking. Abandoning
the traveller, she hurried towards the parlour, in the passage she assuredly did hear
knocking, angry and impatient knocking, the knocking of someone who thinks he
has knocked too long. (A. B.)
13. From the offers of marriage that fell to her, Dona Clara deliberately chose the
one that required her removal to Spain. So to Spain she went. (Th. W.)
14. When he blinks, a parrot-like look appears, the look of some heavily blinking
tropical bird. (A.M.)
15. I am proud of this free and happy country. My form dilates, my eye glistens,
my breast heaves, my heart swells, my bosom burns, when I call to mind her
greatness and her glory. (D.)
16. He, and the falling light and the dying fire, the time-worn room, the solitude,
the wasted life, and gloom, – were all in fellowship. Ashes, and dust, and ruin!
(D.)
17. In manner, close and dry. In voice, husky and low. In face, watchful behind a
blind. (D.)
18. Passage after passage did he explore; room after room did he peep into; at
length he opened the door of the identical room in which he had spent the evening
(D.)
19. … it was not the monotonous days uncheckered by variety and uncheered by
pleasant companionship, it was not the dark dreary evenings or the long solitary
nights, it was not the absence of every slight and easy pleasure for which young
hearts beat high or the knowing nothing of childhood but its weakness and its
easily wounded spirit, that had wrung such tears from Nell. (D.)
20. If it had not been for these things, I might have lived out my life, talking at
street corners to scorning men. I might have died, unmarked, unknown, a failure.
Now we are not a failure. This is our career and our triumph. Never in our full can
we hope to do such work for tolerance, for justice, for man's understanding of man,
as now we do by an accident. Our words—our lives—our pains—nothing! The
taking of our lives—lives of a good shoe-maker and a poor fish-peddler—all! That
last moment belongs to us— that agony is our triumph! (H.R.)
21. However, there was no time to think more about the matter, for the fiddles and
harp began in real earnest. Away went Mr. Pickwick—hands across, down the
middle to the very end of the room, and halfway up the chimney, back again to the
door—poussette everywhere—loud stamp on the ground—ready for the next
couple—off again—all the figure over once more—another stamp to beat out the
time—next couple, and the next, and the next again—never was such going! (D.)
22. An Englishman, needing a pair of striped trousers in a hurry for the New Year
festivities, goes to his tailor who takes his measurements.
"That's the lot. Come back in four days, I'll have it ready." Good. Four days later.
"So sorry, come back in a week, I've made a mess of the seat." Good. That's all
right, a neat seat can be very ticklish. A week later. "Frightfully sorry, come back
in ten days, I've made a hash of the crutch." Good, can't be helped, a snug crutch is
always a teaser. Ten days later. "Dreadfully sorry, come back in a fortnight. I've
made a balls of the fly." Good, at a pinch, a smart fly is a good proposition... Well,
to make it short, the bluebells are blowing and he ballockses the buttonholes. "God
damn you to hell, Sir, it's indecent, there are limits! In six days do you hear me, six
days, God made the world. Yes, Sir, mo less, Sir, the world! And you are not
bloody well capable of making me a pair of trousers in three months!"
"But my dear Sir, my dear Sir, look—(disgustedly)—at the world (pause)—and
look—(loving gesture, proudly) — at my trousers!" (S. B.)
23. Colonel Bulder, in full military uniform, on horseback, galloping first to one
place and then to another, and backing his horse among the people, and prancing,
and curvetting, and shouting in a most alarming manner, and making himself very
hoarse in the voice, and very red in the face, without any assignable cause or
reason whatever. (D.)

APPENDIX. EXCERPTS FOR COMPLEX STYLISTIC ANALYSIS

1. In Arthur Calgary's fatigued brain the word seemed to dance on the wall.
Money! Money! Money! Like a motif in an opera, he thought. Mrs. Argyle's
money! Money put into trust! Money put into an annuity! Residual estate left to
her husband! Money got from the bank! Money in the bureau drawer! Hester
rushing out to her car with no money in her purse... Money found on Jacko,
money that he swore his mother had given him. (Ch.)
2. In her father's desk at the store was a revolver – a large, firm, squarish
mechanism which as she had heard him say, fired eight shots. It was so heavy, so
blue, so cold. She had seen it, touched it, lifted it once—but with a kind of terror
really. It was always so identified with death, anger—not life—but now—
supposing, if she desired to punish Edward and herself—or just herself alone. But
no, that was not the way. What was the way, anyhow? What was the way? (Dr.)
3. You look out of the window, twilight is falling, agony; you are shut in. The air is
cool, smells sweet. You are shut in. You are shut in and your heart is shut in and it
tries to get out and it stifles you and grows, it grows, and your being is dissolved, it
dissolves in longing, you do not know what is happening to your life, you think of
the others around you, the man who walks to and fro in his cell from the time he is
shut in at night till the door is opened again in the morning, whose silence you
have never heard, who cannot bear it: of the men in the trenches, and you want to
be free with them, for air, sweet air and the sky overhead; you hear tapping in the
walls, it is the men who are talking to each other, who have to talk to each other, to
tell each other itheir names, their age, who have learned this complicated code to
communicate nonsense to each other because the silence is unbearable to them;
then you think of the men on bread and water and in darkness because somehow
they are always in trouble, because they cannot help fighting, questioning
every authority, and suddenly your misery, your utter frustration fades, the
vibration ceases; you are calm. (J. Rod.)