SINTACTICAL STYLISTIC DEVICES

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Sintactical stylistic devices
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Contents of this theme
The sentence, as a unit of a certain level, is a sequence of relatively
independent lexical and phrasal units (words or word combinations), and what differentiates a sentence from a word is the fact that the sentence structure is changeable; it does have any constant length: it can be shortened or extended, complete or incomplete, simple, compound or complex. Besides, its constituents, length, word-order, as well as communicative type (assertion, negation, interrogation, exhortation) are variable.
=== Taqdimot 3 ===
based on reduction of the initial sentence model: ellipsis, aposiopesis, nominative sentences, asyndeton;
based on extension of the initial sentence model: repetition, enumeration, tautology, polysyndeton, «it is (was) he, who…», the emphatic verb «to do», parenthetic sentences;
based on change of word-order: inversion, detachment;
based on interaction of syntactic structures in context: parallel constructions;
based on transposition of meaning and connection of constituent parts:rhetoric questions, parceling.
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Ellipsis
An elliptical sentence is such a syntactic structure in which there is no subject, or predicate, or both. The main parts of elliptical sentences are omitted by the speaker intentionally in cases when they are semantically redundant. ex: – Hullo! Who are you? – The staff. In Communicative function Ellipsis saves the speaker from needless effort, spares his time, reduces redundancy of speech. Elliptical structures may also reveal such speakers’ emotions as excitement, impatience, delight, etc. As a stylistic device, ellipsis is an effective means of protagonists’ portrayal.
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The deliberate omission of one or more words in the sentence for a 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. 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. A dark gentleman… A very bad manner. In the last degree constrained, reserved, diffident, troubled.
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Asyndeton
It is a deliberate omission of structurally significant conjunctions and connectives. For example: John couldn’t have done such a silly thing, he is enough clever for that. Fathers, mothers, uncles, cousins. Cocking tails and pricking whiskers,… Communicative functions. Asyndeton makes speech dynamic and expressive. Sometimes it implies the speaker’s haste, nervousness and impatience. Soams turned away; he had an utter disinclination to talk.
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Repetition
Stylistic repetition of language units in speech (separate words, word combinations or sentences) is one of the most frequent and potent stylistic devices. For example: Never take the rifle again. Put it back! put it back! Put it back! Repetition is used when the speaker is under the stress of strong emotions. It shows the state of mind of the speaker. ‘Stop!’-she cried. ‘Don’t tell me! I don’t want to hear; I don’t want to hear what you’ve come for. I don’t want to hear.’The repetition ‘I don’t want to hear’ shows the excited state of mind of the speaker. Repetition aims at fixing the attention of the reader on the key-word of the utterance. There are several structural types of repetition:
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Anaphora
The repeated word or word combination is at the beginning of each
Consecutive syntactic structure. ex: Victory is what we need. Victory is what we expect. Ignorant of how Soams watched her, ignorant of her reckless desperation, ignorant of all this. Anaphora serves as a literary device for emphasizing words and ideas in general. When used correctly, it can also have a lyrical and artistic effect. Readers often remember passages with anaphora in the same way they remember musical refrains. This not only enhances the reader’s language knowledge and enjoyment, but it also increases the writer’s ability to communicate and reinforce meaning in their work.
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Epiphora
Epiphora is a literary device that is exactly opposite of anaphora. Epiphora contain one or many repeating words at the end of consecutive or neighbouring lines. Make sure your lines must have some words placed before epiphora, otherwise that epiphora will be considered as refrains. Epiphora is also known as epistrophe and sometimes epiphora are also called as antistrophe. If these repeating words are placed at the end of multiple lines, but those are not consecutive in structure, that can’t be considered as epiphora. Ex: It is natural to be scared in a case like that.
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Inversion
Inversion is the syntactic phenomenon of intentional changing word-order of the initial sentence model: Ex: To her family Martha gives all her time. Stylistic I n ve r si on aims at attaching logical stress or additional emotional colouring 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. Ex: “green were my jealous eyes,” and “cool was the summer breeze”.
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Framing is most effective in singling out paragraphs. It is more often met in poetry though we can find a great deal of it in emotive prose as well. This type of repetition can comprise any part of text – a sentence a paragraph, a page. Its extreme case is when it starts from the title and comprises to whole text. In most cases framing is aimed at foregrounding (logically or emotionally) of the repeated element, so by the time it is used the second time its semantics is concretized and specified: Nothing ever happened in that little town, left behind by the advance of civilization, nothing (S. Maugham).
Framing
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Chiasmus comes from a Greek word meaning “crossed,” and it refers to a grammatical structure that inverts a previous phrase. That is, you say one thing, and then you say something very similar, but flipped around. Ex: Don’t sweat the petty things, and don’t pet the sweaty Chiasmus usually occurs on the sentence level, but can also be found in much broader structures – that is, you might have a paragraph that talks about a town, a state, a country, and the world, then goes back down in reverse order at the end. However, these structures are much harder to see (and their rhetorical value is pretty debatable), so this article will focus only on chiasmus at the sentence level. Ex: Live simply so that others might simply live. (Gandhi)
Chiasmus
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Polysyndeton
The definition of polysyndeton is the repeated use of coordinating conjunctions to connect different items in a sentence. The repetition of conjunctions—and, but, or, nor—in close succession is a deliberate style choice to place emphasis on each listed word or phrase. The effect is often an excited or serious mood. The word polysyndeton comes from the Greek sundetos, which means “bound together.” Polysyndeton’s quick succession of words or phrases creates a powerful rhetorical effect in writing. As one thought finishes, the next one is right behind, which can purposely overwhelm the reader. The dog barked and pulled Jack, and growled, and raged.
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Asyndeton
Asyndeton is a literary device in which conjunctions—such as and, but, and or—are intentionally omitted to change a sentence’s tone. Asyndeton, pronounced uh-sin-duh-tn, is an Ancient Greek word that means “unconnected.”Asyndetons serve multiple functions in writing: to speed up a speaker or writer’s rhythm, change the tone of what’s being said, and add emphasis. Ex:“I came, I saw, I conquered.” The omission of a conjunction makes this quote concise, adding emphasis and underlining the battle’s swiftness.,
Don’t forget
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Parallel constructions
Parallel construction means that words or phrases are written in the same form. If one phrase uses the verb form ending in «ing,» then other phrases should, too. Parallelism is a stylistic device of producing two or more syntactic structures according to the same syntactic pattern: Mary cooked dinner, John watched TV, Pete played tennis. Communicative functions. Syntactic parallelism is polyfunctional. It creates rhythm and is typical of poetry. It makes speech persuasive and is a feature of the publicistic and oratory styles. It underlines important information and is widely used in everyday speech.
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Detached Construction is a secondary part of a sentence, placed so that it seems formally independent of the word it logically refers to. The detached part, being torn away from its referent, assumes a greater degree of significance. Steyne rose up, grinding his teeth, pale, and with fury in his eyes. This stylistic device is akin to inversion, detached construction produces a much stronger effect. Ex: I want to go’, he said, miserable.’
Detached construction
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Anadiplosis/Reduplication
Anadiplosis/ Reduplication: the last word or phrase of one part of the utterance is repeated at the beginning of the next part. This compositional pattern is also called chain-repetition: A smile would come into Mr.Pickwick’s face: the smile extended into a laugh: the laugh into a roar, and the roar became general. Any repetition causes some modification of meaning which needs analysis. The functions of the repetition are the following: Ex: to intensify the utterance. Those evening bells! Those evening bells! Meditation, sadness, reminiscence and other psychological and emotional states of mind are suggested by the repetition of the phrase with the intensifier ‘those’.
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Pleonasm/Tautology
Pleonasm/Tautology is the use of more words in a sentence than are necessary to express the meaning:
1. It was a clear starry sky, and not a cloud was to be seen.
2. He was the only survivor; no one else was saved..
Syntactic pleonasm is using excessive words within a sentence structure without adding any meaning. For example, a double negative like “I can’t not look” is a syntactic pleonasm.
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Enumeration
Enumeration is a stylistic device by which separate things, objects, phenomena, actions or properties are named one by one so that they produce a chain. The links of the chain are forced to display some semantic homogeneity.
The grouping of sometimes absolutely heterogeous notions meets the peculiar purport of the writer. Enumeration is frequently used to depict scenery through a tourist’s eyes as it gives one an insight into the mind of the observer.
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Suspense consists in arranging the matter of communication in such a way that the less important 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 kept up, as he is in the state of uncertainty and expectation. Suspense sometimes goes together with Climax.
Suspense
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Climax/Gradation
Climax/Gradation is the arrangement of sentences which secures a gradual increase in significance, importance or emotional tension in the utterance. The gradual increase in significance may be maintained in three ways: logical, emotional and quantitative. Emotional climax is mainly found in sentences. Ex: It was a lovely city, a beautiful city, a fair city, a veritable gem of a city. The quantitative climax is an evident increase in the volume of the concepts: Ex: They looked at hundreds of houses, they climbed thousands of stairs, they inspected innumerable kitchens. The function of this stylistic device is to show the relative importance of the things as seen by the author.
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Antithesis
Antithesis is a stylistic opposition, setting thing one against the other. In order to characterize a thing or phenomenon from a specific point of view, it may be necessary to find points of sharp contrast.
1. A saint abroad, and a devil at home.
2. Youth is lovely, age is lonely,
Youth is fiery, age is frosty.
3. Man proposes, God disposes.
Antithesis has the basic function of rhyme-forming because of the parallel arrangement on which it is founded.
Crabbed age and youth
Cannot live together:
Youth is full of pleasance,
Age is full of care…
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Ellipsis
Ellipsis refers to any omitted part of speech that is understood, i.e. the omission is intentional. In writing and printing this intentional omission is indicated by the row of three dots (…) or asterisks (***). Ellipsis always imitates the common features of colloquial language. This punctuation mark is called a suspension point or dot-dot-dot.
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Litotes
Litotes is a peculiar use of negative construction: the negation plus noun or adjective establish a positive feature in a person or thing. It is a deliberate understatement used to produce a stylistic effect. Litotes is not a pure negation, but a negation that includes affirmation.
Ex: It is not bad.-(Is a good thing). He is no coward.-(He is a brave man)
Such negative constructions have a stronger effect on the reader than affirmative ones. Ex: She was not without taste.
The constructions with two negations: not unlike, not unpromising, not displeased make positive phrases.
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