Lecture

Stylistics of English Syntax (Part II)

List of Issues Discussed:
I. Syntactical Stylistic Devices Based on Peculiar linkage.
1.1. Asyndeton.
1.2. Polysyndeton.
1.3. Gap-sentence Link.
II. Syntactical Stylistic Devices Based on peculiar use of colloquial
constructions.
2.1. Ellipsis.
2.2. Aposiopesis/ Break-in-the-narrative.
2.3. Question-in-the-narrative.
2.4. Represented speech.
III. Syntactical Stylistic Devices Based on Stylistic use of structural
meaning.
3.1. Rhetorical question.
3.2. Litotes.
I. Syntactical Stylistic Devices Based on Peculiar linkage.
1.1. Asyndeton
Asyndeton is a deliberate avoidance of connectives. Asyndeton is used to
indicate tense, energetic, organized activities or to show a succession of
immediately following each other actions. It helps to give a laconic and at the
same time detailed introduction into the action proper. In stylistic enumeration
the absence of the conjunction ‘and’ before the last homogeneous part conveys
the idea that the enumeration is not complete.
 ‘Soames turned away; he had an utter disinclination for talk, like one
standing before an open grave, watching a coffin slowly lowered.’
 ‘He couldn't go abroad alone, the sea upset his liver, he hated hotels.’
 1.2. Polysyndeton
Polysyndeton is a stylistic device in which several coordinating conjunctions
are used in succession in order to achieve an artistic effect. The term
polysyndeton comes from a Greek word meaning “bound together”. It makes
use of coordinating conjunctions like and, or, but, and nor (mostly and and or)
which are used to join successive words, phrases, or clauses in such a way that
these conjunctions are even used where they might have been omitted. For
example, in the sentence, “We have ships and men and money and stores” the
coordinating conjunction “and” is used in quick succession to join words
occurring together. In a normal situation, the coordinating conjunction “and” is
used to join the last two words of the list, and the rest of the words in the list are
separated or joined by a comma.
1.3. Gap-sentence Link
Gap-sentence link It is a peculiar type of connection of sentences that is not
immediately apparent but requires a certain mental effort to grasp the
interrelation between the parts of the utterance, i.e. to bridge a semantic gap.
E.g. She and that fellow ought to be the sufferers, and they were in Italy.
(Galsworthy)
The second part of the sentence seems to be unmotivated, and the whole
utterance seems to be logically incoherent. But it is only the first impression.
After a careful supralinear semantic analysis it becomes clear that the exact
logical variant of the utterance would be: ‘Those two who ought to suffer were
enjoying themselves in Italy – a place for well-off people to go on holidays’.
II. Syntactical Stylistic Devices Based on peculiar use of colloquial
constructions.
2.1. Ellipsis
Ellipsis The deliberate omission of one or more words in the sentence for
definite stylistic purpose is called the stylistic device of ellipsis.
The omission of some parts of the sentence is an ordinary and typical feature of
the oral type of speech. In belle-letters style the peculiarities of the structure of
the oral type of speech are partially reflected in the speech of characters (for
example, the informal and careless character of speech).
 Some parts of the sentence may be omitted due to the excitement of the
speaker.
The stylistic device of ellipsis is sometimes used in the author’s narration but
more frequently it is used in represented speech.
The stylistic device of ellipsis used in represented inner speech creates a
stylistic effect of the natural abruptness and the fragmentary character of the
process of thinking.
e. g. You feel all right? Anything wrong or what?
2.2. Aposiopesis
Aposiopesis / Break-in-the-narrative A sudden break in speech often occurs
in the oral type of speech. It is caused by strong emotion or some reluctance to
finish the sentence. In belle-letters style a break in speech is often used in
dialogue to reflect its naturalness.
A sudden break in the narration when used in written speech for certain stylistic
purposes, creates the stylistic device of aposiopesis. Aposiopesis is marked
graphically by a series of dots or a dash. It is often used in represented speech.
Graphical expressive means, such as dash and dots are indispensable in
aposiopesis.
e.g. On the hall table there were a couple of letters addressed to her. One was
the bill.
2.3. Question-in-the-narrative.
Question-in-the-narrative changes the real nature of a question and turns it
into a stylistic device. A question-in-the-narrative is asked and answered by one
and the same person, usually the author.
Question-in-the-narrative may also remain unanswered, as in:
"How long must it go on? How long must we suffer? Where is the end? What is
the end?" (Norris)
These sentences show a gradual transition to rhetorical questions. There are
only hints of the possible answers. Indeed, the first and the second questions
suggest that the existing state of affairs should be put an end to and that we
should not suffer any longer. The third and the fourth questions suggest that the
orator himself could not find a solution at the problem.
 Question-in-the-narrative is very often used in oratory. This is explained by one
of the leading features of oratorical style - to induce the desired reaction to the
content of the speech.
2.4. Represented speech
Represented speech There is also a device which coveys to the reader the
unuttered or inner speech of the character, his thoughts and feelings. This device
is also termed represented speech. To distinguish between the two varieties of
represented speech we call the representation of the actual utterance through the
author's language "uttered represented speech", and the representation of the
thoughts and feelings of the character unuttered or inner represented speech.
III. Syntactical Stylistic Devices Based on Stylistic use of structural meaning.
3.1. Rhetorical question
Rhetorical question A rhetorical question is asked just for effect, or to lay
emphasis on some point being discussed, when no real answer is expected. A
rhetorical question may have an obvious answer, but the questioner asks it to lay
emphasis to the point. In literature, a rhetorical question is self-evident and used
for style as an impressive persuasive device.
Broadly speaking, a rhetorical question is asked when the questioner himself
knows the answer already, or an answer is not actually demanded. So, an answer
is not expected from the audience. Such a question is used to emphasize a point
or draw the audience’s attention.
Rhetorical questions in literature are as important as they are in daily language,
or perhaps even more so. The reason is the significant change a rhetorical
question can bring about.
The absence or presence of a rhetorical question in some of the most famous
lines in literature would change the impact altogether. Some examples of
rhetorical questions in literature show that writers sometimes ask questions, and
then goes on to answer them to produce a desired effect.
JULIET:
‘Tis but thy name that is my enemy.
Thou art thyself, though not a Montague.
What’s Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What’s in a name? That which we call a rose
By any other name would smell as sweet.’
Romeo and Juliet (William Shakespeare)
3.2. Litotes
Litotes is a figure of speech in which understatement is employed for rhetorical
effect principally via double negatives.
For example, rather than saying that something is attractive (or even very
attractive), one might merely say it is "not unattractive".
e.g. It's not a bad thing.
e.g. He is no coward. .
e.g. He was not without taste.
Litotes presupposes double negation. Its function is to convey doubts of the
speaker concerning the exact characteristics of the object or a feeling.