THE EXTENSION OF MORPHEMIC VALENCY
“Mr. Hamilton, you haven’t any children, have you?”
“Well, no. And I’m sorry about that I guess. I am sorriest about that”.
MORPHEMIC REPETITION
It was there again, more clearly than before: the terrible expression of pain in her eyes; unblinking, unaccepting, unbelieving pain.
SYNTACTICAL EXPRESSIVE MEANS
AND STYLISTIC DEVICES:
COMPOSITIONAL PATTERNS
OF SYNTACTICAL ARRANGEMENT
inversion
1)Dark they were and golden-eyed (Bradbury).
2) They slid down.
Did they slide down? (grammatical inversion).
Down they slid (stylistic inversion).
3) "Half an hour later came another inquiry as to tugs. Later came a message from the Irene, telling of the lifting of the fog."
(The New York Times, April 7, 1911)
4)"There's a lady wants to see you. Miss Peters her name is."
(P.G. Wodehouse, Something Fresh, 1915)
DETACHED CONSTRUCTION (detachment)
"I have to beg you for money! Daily!"
parallel construction (or SYNTACTIC PARALLELISM)
1) When the lamp is shattered
The light in the dust lies dead –
When the cloud is scattered
The rainbow's glory is shed.
When the lute is broken.
Sweet tones are remembered not;
When the lips have spoken,
Loved accents are soon forgot (P.B. Shelley);
2) I was a stranger, and ye took me in: Naked, and ye clothed me: I was sick, and ye visited me: I was in prison and ye came into me (St. Matthew).
Chiasmus (reversed parallel constructions )
1) Let the long contention cease:
Geese are swans, and swans are geese (M. Arnold);
2) Beauty is truth, truth beautyt – that is all
Ye know on earth, and all ye need to know (Keats);
3) But many that are first shall be last; and the last shall be first
(St. Matthew).
SUSPENsE (retardation)
1)“Mankind, – says a Chinese manuscript, which my friend was obliging enough to read and explain to me, – for the firsteventy thousand ages ate their meat raw” (Ch.L.).
SYNTACTICAL EXPRESSIVE MEANS
AND STYLISTIC DEVICES:
COMPOSITIONAL PATTERNS
OF SYNTACTICAL ARRANGEMENT
repetition
1)And a great desire for peace, peace of no matter what kind, swept through her (A.B.)
2) A repeated occurrence of one and the same word-group.
3) A horse is a horse, of course, of course,
And no one can talk to a horse of course
That is, of course, unless the horse is the famous Mister Ed."
(Theme song of 1960s TV program Mr. Ed)
Anaphora
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1)Sir Walter Raleigh. Good food. Good cheer. Good times."
(slogan of the Sir Walter Raleigh Inn Restaurant, Maryland)
2)"We saw the bruised children of these fathers clump onto our school bus, we saw the abandoned children huddle in the pews at church, we saw the stunned and battered mothers begging for help at our doors."
(Scott Russell Sanders, "Under the Influence," 1989)
3)"Of all the gin joints in all the towns in all the world, she walks into mine."
(Rick Blaine in Casablanca)
epiphora
…a, …a, …a.
Anadiplosis (Catch Repetition)
1)"Our doubt is our passion, and our passion is our task." - Henry James
2)"All service ranks the same with God, With God, whose puppets, best and worst, Are we' - Robert Browning in 'Pippa Passes'
3)"For Lycidas is dead, dead ere his prime,.........' - John Milton in 'Lycidas'
4)"That my heart has been troubled, that I have not sought this nomination, that I could not seek it in good conscience, that I would not seek it in honest self-appraisal, is not to say that I value it the less. Rather, it is that I revere the office of the Presidency of the United States."
CHAIN REPETITION
…a, a…b, b…c, c…
Prolepsis (syntactic tautology)
Miss Tilly Webster, she slept forty days and nights without waking up (O’H.).
CLIMAX (gradation)
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.
The increase in significance may be: logical, emotional or quantitative.
ANTICLIMAX (BATHOS)
1)America is the Paradise for women. That is why, like Eve, they are so extremely anxious to get out of it!
antithesis (a variant of Syntactic Parallelism)
1) Yet each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword! (O. Wilde);
2) God made the country, and man made the town (Cowper).
3) parallel constructions with contrasted words (usually antonyms)
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Nonsense of non-sequence
Emperor Nero played the fiddle, so they burnt Rome (E.). J oining two semantically disconnected clauses by cause / effect relations.
Syntactical expressive means and stylistic
devices: PARTICULAR WAYS OF COMBINING PARTS OF
THE UTTERANCE
ASYNDETON
The audience rolled about in their chairs; they held their sides, they groaned in an agony of laughter. (avoidance of connectives)
POLYSYNDETON
“They were all three from Milan and one of them was to be a lawyer, and one was to be a painter, and one had intended to be a soldier, and after we were finished with the machines, sometimes we walked back together. (H.)
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