Stylistic devices

SYNTACTICAL EXPRESSIVE MEANS AND STYLISTIC DEVICES

GENERAL CONSIDERATIONS

Within the language as a system there establish themselves certain [definite types of relations between words, word-combinations, sentences and also between larger spans of utterances. The branch of language science, which studies the types of relations between the units enumerated, is called syntax.

In the domain of syntax, as has been justly pointed out by L. A. Bulakhovsky, it is difficult to distinguish between what is purely grammatical, i. e. marked as corresponding to the established norms, and what is stylistic, i. e. showing some kind of vacillation of these norms. This is particularly evident when we begin to analyse larger than the sentence units.

Generally speaking, the examination of syntax provides a deeper insight into the stylistic aspect of utterances.

The study of the sentence and its types and especially the study of the relations between different parts of the sentence has had a long history. Rhetoric was mainly engaged in the observation of the juxtaposition of the members of the sentence and in finding ways and means of building larger and more elaborate spans of utterance, as, for example, the period or periodical sentence. Modern grammars have greatly extended the scope of structural analysis and have taken under observation the pecul¬iarities of the relations between the members of the sentence, which somehow has overshadowed problems connected with structural and semantic patterns of larger syntactical units. It would not be an exaggera¬tion to state that the study of units of speech larger than the sentence is still being neglected by many linguists. Some of them even consider such units to be extralinguistic, thus excluding them entirely from the domain of linguistics.

Stylistics takes as the object of its analysis the expressive means and stylistic devices of the language, which are based on some significant structural point in an utterance, whether it consists of one sentence or a string of sentences. In grammar, certain types of utterances have already been patterned; thus, for example, we have all kinds of simple, compound or complex sentences, even a paragraph long, that may be regarded as neutral or non-stylistic patterns.

At the same time, the peculiarities of the structural design of utterances, which bear some particular emotional colouring, that is, which are stylistic and therefore non-neutral, may also be patterned and presented as a special system.

Stylistic syntactical patterns may be viewed as variants of the general syntactical models of the language and are the more obvious and conspicuous if presented not as isolated elements or accidental usages, but as groups easily observable and lending themselves to generalization.

This idea is expressed by G. O. Vinokur in his "Маяковский — новатор языка" where he maintains that in syntax it is no new material that is coined, but new relations, because the syntactical aspect of speech is nothing more than a definite combination of grammatical forms, and in this sense the actual words used are essentially immaterial. Therefore syntactical relations, particularly in poetic language, are that aspect of speech in which everything presents itself as actualization of the potential and not merely the repetition of the ready-made.1

By "the potential" Q. Vinokur apparently means variations of syntactical patterns.

It follows, therefore, that in order to establish the permissible fluctuations of the syntactical norm, it is necessary to ascertain what is meant by the syntactical norm itself. As a matter of fact any change in the relative positions of the members of the sentence may be regarded as a variant of the received standard, provided that the relation between them will not hinder the understanding of the utterance.

But here we are faced with the indisputable interdependence between form and content; in other words, between the syntactical design of the utterance and its concrete lexical materialization.

Syntactical relations can be studied in isolation from semantic content. In this case they are viewed as constituents of the whole and assume their independent grammatical meaning. This is most apparent in forms embodying nonsense lexical units, as in Lewis Carroll's famous lines, so often quoted by linguists.

"Twas brilling, and the slithy toves .   .      Did gyre and gimbol in the wabe: All mimsy were the borogroves, And the mome raths outgrabe."

The structural elements of these lines stand out conspicuously and make sense even though they, are materialized by nonsense elements. Moreover, they impose^on the morphemes they are attached to a definite grammatical meaning making it possible to class the units. So it is due to these elements that we can state what the nonsense words are supposed to mean. Thus, we know that the sequence of the forms forcibly suggests that after twas we should have an adjective; the у in slithy makes the word an adjective; gyre after the emphatic did can only be a verb. We know that this is a poem because it has rhythm (iambic tetrameter) and rhyme (abab in * toves—borogroves;' 'wabe—outgrabe').

A closer examination of the structural elements will show that they outnumber the semantic units: nineteen structural elements and eleven

are meant to be semantic. The following inferences may be drawn from

this fact:

1) it is the structural element of the utterance that predetermines the possible semantic aspect;

2) the structural elements have their own independent meaning which may be called structural or, more widely, grammatical;

3) the structural meaning may affect the lexical, giving contextual meaning to some of the lexical units.

B. PROBLEMS CONCERNING THE COMPOSITION OF SPANS OF UTTERANCE LARGER THAN  THE SENTENCE

In recent years a new theory concerning the inner relations between context and form within the sentence has appeared. This theory, elabo¬rated by S. Harris, N. Chomsky, M. Postal and others, is called Genera¬tive Grammar. It maintains that grammar must not only describe the laws which regulate the functioning of linguistic units but must also be capable of generating new sentences.

"A grammar of this kind," writes John Lyons, "is 'predictive' in that it establishes as grammatical, not only 'actual' sentences, but also 'potential' sentences." l

The reference to Lyons's statement has direct bearing on the problems of stylistic syntax. The fact is, as will be seen later, that any one of the syntactical SDs is capable of generating an unlimited number of senten¬ces within the given pattern. However, according to orthodox generative grammar, some of them are regarded as 'ill-formed' and even 'ungram-matical' inasmuch as they fail to meet the requirements of the basic (kernel) structures.

The theory further maintains that there are two kinds of structures — a deep structure and a surface structure. The latter are the actual senten¬ces produced by the former, which is not presented in language units and therefore unobservable.

Mention of this theory is made here, firstly, because in modern sty-listics attempts are being made to build up a grammar which would generate deviant constructions and thus broaden the limits of the 'well-formed' sentences which are regarded as the only ones that are 'grammat¬ical'. Another reason is that transformation, one of the basic methods employed in generative grammars, is very effectively used in stylistics when it is necessary to find the stylistic meaning of this or that sentence structure. A third reason is that generative grammars aim at reconstruct¬ing the processes connected with the formation of sentences. This has direct bearing on the interpretation of syntactical SDs and particularly on their linguistic nature.

This theory enables the interpreter to look at a sentence from the point of view of what is 'behind' the sentence.

As J. P. Thorne states, "Generative grammar is important to stylist¬ics because in addition to these'surface structure' facts, it is concerned

with the so-called 'deep structure' aspects of language, that is, those facts about linguistic structure which cannot be directly related to what can be observed. Most stylistic judgements relate to deep structure."1

It follows then that the so-called generative grammar is not so strik¬ingly new. This is also noted by the well-known linguists John Lyons and D. Bolinger, 2 who state positively that there is nothing new in the theory of generative grammar.

Another development in linguistics also having direct bearing on the problems which concern us when dealing with syntactical SDs, is 'text-linguistics', as it is called. This development, which as yet has not been formed as a separate theory, aims at investigating the objective criteria concerning ways and means of constructing texts of different kinds and genres. 3

For this purpose it is first of all necessary to find the elements into which any text may fall. In other words, there must be certain constituent units of which any text is composed.

Phonemes, the smallest language units, function within morphemes and are dependent on them, morphemes function within words, words — within sentences, and sentences function in larger structural frames which we shall call "supra-phrasal units". Consequently, neither words nor separate sentences can be regarded as the basic constituents of a text. They are the basic units of lower levels of language-as-a-system, as is shown above.

Supra-Phrasal Units

The term supra-phrasal unit (SPU) is used to denote a larger unit than a sentence. It generally comprises a number of sentences interdependent structurally (usually by means of pronouns, connectives, tense-forms) and semantically (one definite thought is dealt with). Such a span of utterance is also characterized by the fact that it can be extracted from the context without losing its relative semantic independence. This cannot be said of the sentence, which, while representing a complete syntactical unit, may, however, lack the quality of independence. A sentence from the stylistic point of view does not necessarily express one idea, as it is defined in most manuals of grammar. It may express only part of one idea. Thus the sentence: "Guy glanced at his wife's untouched plate", if taken out of the context, will be perceived as a part of a larger span of utterance where the situation will be made clear and the purport of verbal expression more complete.

Here is the complete SPU.

Guy glanced at his wife's untouched plate.

"If you've finished, we might stroll down. I think you ought to be starting."

She did not answer. She rose from the table. She went into her room to see that nothing had been forgotten and then side by side with him walked down the steps. (Somerset Maugham)

The next sentence of the paragraph begins: "A little winding path..." This is obviously the beginning of the next SPU. So a supra-phrasal unit may be defined as a combination of sentences presenting a structural and semantic unity backed up by rhythmic and melodic unity. Any SPU will lose its unity if it suffers breaking.

But what are the principles on which the singling out of an SPU can be maintained? In order to give an answer to this question, it is first of all necessary to deepen our understanding of the term utterance. As a stylistic term the word 'utterance' must be expanded. Any utterance from a stylistic point of view will serve to denote a certain span of speech (language-in-action) in which we may observe coherence, interdepend¬ence of the elements, one definite idea, and last but not least, the pur¬port of the writer.

The purport is the aim that the writer sets before himself, which is to make the desired impact on the reader. So the aim of any utterance is a carefully thought-out impact. Syntactical units are connected to achieve the desired effect and it is often by the manner they are connected that the desired effect is secured.

Let us take the following paragraph for analysis:

"1. But a day or two later the doctor was not feeling well. 2. He had an internal malady that troubled him now and then, but he was used to it and disinclined to talk about it. 3. When he had one of his attacks, he only wanted to be left alone. 4. His cabin was small and stuffy, so he settled himself on a long chair on deck and lay with his eyes closed. 5. Miss Reid was walking up and down to get the half hour's exercise she took morning and evening. 6. He thought that if he pretended to be asleep she would not disturb him. 7. But when she had passed him half a dozen times she stopped in front of him and'stood quite still. 8. Though he kept his eyes closed he knew that she was looking at him." (Somerset Maugham)

This paragraph consists of eight sentences, all more or less independent? The first three sentences, however, show a considerable degree I of semantic interdependence. This can be inferred from the use of the |following cluster of concepts associated with each other: 'not feeling I weir, 'internal malady', 'one of his attacks'. Each phrase is the key to the sentence in which it occurs. There are no formal connectives, the con¬nection is made apparent by purely semantic means. These three senten¬ces constitute an SPU built within the larger framework of the paragraph. The fourth sentence is semantically independent of the preceding three. It seems at first glance not to belong to the paragraph at all. The fact that the doctor's'cabin was small and stuffy' and that 'he settled himself... on deck' does not seem to be necessarily connected with the thought ex¬pressed in the preceding SPU. But on a more careful analysis one can clearly see how all four sentences are actually interconnected. The link¬ing sentence is 4he only wanted to be left alone'. So the words Чау with his eyes closed' with which the fourth sentence ends, are semantically connected both with the idea of being left alone and with the idea ex¬pressed in the sentence: 'He thought that if he pretended to be asleep she would not disturb him.' But between this sentence and its semantic links May with his eyes closed' and 'wanted to be left alone', the sentence about Miss Reid thrusts itself in. This is not irrelevant to the whole situation and to the purport of the writer, who leads us to understand that the doctor was disinclined to talk to anybody and probably to Miss Reid in particular.

So the whole of the paragraph has therefore semantic and structural wholeness. It can, however, be split into two SPUs with a linking sen¬tence between them. Sentence 5 can be regarded as an SPU, inasmuch as it enjoys considerable independence both semantically and structurally. Sentences 6, 7 and 8 are structurally and therefore semantically inter¬woven. But when and though in the seventh and eighth sentences are the structural elements which link all three sentences into one SPU.

It follows then that an SPU can be embodied in a sentence if the sen¬tence meets the requirements of this compositional unit. Most epigrams are SPUs from the point of view of their semantic unity, though they fail to meet the general structural requirement, viz. to be represented in a number of sentences.

On the other hand, an SPU, though usually a component part of the paragraph, may occupy the whole of the paragraph. In this case we say that the SPU coincides with the paragraph.

It is important to point out that this structural unit, in its particular way of arranging ideas, belongs almost exclusively to the belles-lettres style, though it may be met with to some extent in the publicistic style. Other styles, judging by their recognized leading features, do not require this mode of arranging the parts of an utterance except in rare cases which may be neglected. '

Let us take a passage from another piece of belles-lettres style, a paragraph from Aldington's "Death of a Hero."

It is a paragraph easy to submit to stylistic and semantic analysis: it falls naturally into several SPUs.

"1. After dinner they ,sat about and smoked. 2. George took his chair over to the open window and looked down on the lights and movement of Piccadilly.-3. The noise of the traffic was lulled by the height to a long continuous rumble. 4. The placards of the evening papers along the railings beside the Ritz were sensational and bellicose. 5. The party dropped the subject of a possible great war; after deciding that there wouldn't be one, there couldn't. 6. George, who had great faith in Mr. Bobbe's political acumen, glanced through his last article, and took great comfort from the fact that Bobbe said there wasn't going to be a war. 7. It was all a scare, a stock market ramp... 8. At that moment three or four people came in, more or less together, though they were in separate parties. 9. One of them was a youngish man in immaculate evening dress. 10. As he shook hands with his host, George heard him say rather excitedly, "I've just been dining with..."

Analysis of this paragraph will show how complicated the composi¬tion of belles-lettres syntactical units is. There is no doubt that,there is a definite semantic unity in the paragraph. The main idea is the anxi¬ety and uncertainty of English society before World War I as to whether there would be, or would not be, a war. But around this main sense-axis there centre a number of utterances which present more or less in¬dependent spans of thought. Thus, we can easily single out the group of sentences which begins with the words 'After dinner' and ends with '...and bellicose'. This part of the text presents, as it were, the back-ground against which the purport of the author stands out more clearly, the last sentence of this SPU preparing the reader for the main idea of the paragraph—the possibility of war—which is embodied in the next supra-phrasal unit. This second SPU begins with the words 'The party dropped the subject of a possible great war' and ends with '...a stock market ramp...'. It is made structurally independent by the introduction of elements of uttered represented speech (see p. 238), the contractions wouldn't, couldn't, wasn't, the purely colloquial syntactical design there wouldn't be one, there couldn't, the colloquial word scare.

The shift to the third SPU is indicated by the dots after the word ramp (...). Here again it is the author who speaks, there are no further elements of represented speech, the shift being rather abrupt, because George's thoughts were interrupted by the entrance of the newcomers. The connecting 'At that moment' softens the abruptness.

The author's purport grows apparent through the interrelation—  an interrelation which seems to be organic—between the three SPUs: sensational and bellicose placards in the streets of London, the anxiety of the people at the party, the conviction backed up by such a reassuring argument as Mr. Bobbe's article that there was not going to fee a war, and the new guests bringing unexpected news.

SPUs are not always so easily discernible as they are in this paragraph from "The Death of a Hero". Due to individual peculiarities in combining ideas into a graphical (and that means both syntactical and semantic) unity, there may be considerable variety in the arrangement of SPUs and of paragraphs, ranging from what might be called clearly-marked borderlines between the supra-phrasal unit to almost imperceptible se¬mantic shifts. Indeed, it is often from making a comparison between the beginning and the end of a paragraph that one can infer that it con¬tains separate SPUs.

It follows then that the paragraphs in the belles-lettres prose style do not necessarily possess the qualities of unity and coherence as is the case with paragraphs in other styles of speech and particularly in the scientific prose style.

SPUs are to be found in particular in poetical style. Here the SPUs, as well as the paragraphs, are embodied in stanzas. Due to the most typical semantic property of any poetical work, viz. brevity of expres¬sion, there arises the need to combine ideas so that seemingly independent utterances may be integrated into one poetical unity, viz. a stanza. Let us take for analysis the following stanza from Shelley's poem "The Cloud":

"I bring fresh showers for the thirsting flowers

From the seas and the streams; I bear light shade for the leaves when laid

In their noon-day dreams. From my wings are shaken the dews that waken

The sweet buds every one, When rocked to rest on their mother's breast,

As she dances about the sun. I wield the flail of the lashing hail,

And whiten the green plains under; And then again I dissolve it in rain,

And laugh as I pass in thunder."

Here there are three SPUs separated by full stops.

Within the first, which comprises four lines, there are two more or less independent units divided by a semicolon and integrated by paral¬lel constructions (/ bring fresh showers; I bear light shade).

Within the second SPU—also four lines—there are also two inter-dependent ideas—the buds awakened by the dews and the earth moving around the sun. These are strongly bound together by the formal ele¬ments when and as forming one complex sentence and an SPU. The for¬mal means used to connect different spans of utterance affect their seman¬tic integrity.

The three SPUs of the stanza are united by one idea—  the usefulness of the cloud giving all kind of comfort, here moisture and shade, to what is growing..* showers, shade, dews, hail, rain.

The SPUs in sonnets qfe^ especially manifest. This is due to their strict structural and semantic rules of composition.

The Paragraph

A p a r a g r a p h is a graphical term used to name a group of sen¬tences marked off by indentation at the beginning and a break in the line at the end. But this graphical term has come to mean a distinct portion of a written discourse showing an internal unity. As a linguistic category the paragraph is a unit of utterance marked off by purely linguistic means: intonation, pauses of various lengths, semantic ties which can be disclosed by scrupulous analysis of the morphological aspect and meaning of the component parts, etc. It has already been stated elsewhere that the logical aspect of an utterance will always be backed up by purely linguistic means causing, as it were, an indivisible unity of extralin-guistic and intralinguistic approach.

Bearing this in mind, we shall not draw a mark of demarcation between the logical and the linguistic analysis of an utterance, because the paragraph is a linguistic expression of a logical, pragmatic and aesthet¬ic arrangement of thought.

Paragraph structure is not always built on logical principles alone, as is generally the case in the style of scientific prose. In the building of paragraphs in newspaper style, other requirements are taken into consideration, for instance, psychological principles, in particular the sensational effect of the communication and the grasping capacity of the reader for quick reading. Considerations of space also play ад im¬portant part. This latter consideration sometimes overrules the neces¬sity for logical arrangement and results in breaking the main rule of paragraph building, i.e. the unity of idea. Thus, a brief note containing information about an oil treaty is crammed into one sentence, it being, in its turn, a paragraph:

"The revised version of an international oil treaty is to-day before the Senate Relation Committee, which recently made it clear that the Anglo-American oil treaty negotiated last August would not reach the Senate floor for ratification, because of objections by the American oil industry to it."

Paragraph building in the style of official documents is mainly governed by the particular conventional forms of documents (charters, pacts, diplomatic documents, business letters, legal documents and the like). Here paragraphs may sometimes embody what are grammati¬cally called a number of parallel clauses, which for the sake of the whole¬ness of the entire document are made formally subordinate, whereas in reality they are independent items. (See examples in the chapter on official style, p. 312.)

Paragraph structure in the belles-lettres and publicistic styles is strongly affected by the purport of the author. To secure the desired impact, a writer finds it necessary to give details and illustrations, to introduce comparisons and contrasts, to give additional reasons and, finally, to expand the topic by looking at it from different angles and paraphrasing the idea. He may, especially in the publicistic style, intro¬duce the testimony of some authority on the subject and even deviate from the main topic by recounting an anecdote or even a short story to ease mental effort and facilitate understanding of the communication.

The length of a paragraph normally varies from eight to twelve sentences. The longer the paragraph is, the more difficult it is to fol¬low the purport of the writer. In newspaper style, however, most para¬graphs consist of one or perhaps two or three sentences.

Paragraphs of a purely logical type may be analysed from the way the thought of the writer develops. Attempts have been made to classify paragraphs from the point of view of the logical sequence of the sentences. Thus, in manuals on the art of composition there are models of paragraphs built on different principles:

1) from the general to the particular, or from the particular to the general;

2) on the inductive or deductive principle;

3) from cause to effect, or from effect to cause;

4) on contrast, or comparison.

So the paragraph is a compositional device aimed either at facilitat¬ing the process of apprehending what is written, or inducing a certain reaction on the part of the reader. This reaction is generally achieved by intentionally grouping the ideas so as to show their interdepend¬ence or interrelation. That is why the paragraph, from a mere compo¬sitional device, turns into a stylistic one. It discloses the writer's man¬ner of depicting the features of the object or phenomenon described. It is in the paragraph that the main function of the belles-lettres style becomes most apparent, the main function, as will be shown below, being aesthetico-cognitive and pragmatic.

In the paragraph from the "Death of a Hero", as we saw, there are three SPUs which together constitute one paragraph. If we were to convert the passage into one of the matter-of-fact styles it would be neces¬sary to split it into three paragraphs. But Aldington found it necessary to combine all the sentences into one paragraph, evidently seeing closer connections between the parts than there would be in a mere imperson¬al, less emotional account of the events described.

The paragraph in some styles, such as scientific, publicistic and some others, generally has a topic sentence, i. e. a sentence which embodies the main idea of the paragraph or which may be inter¬preted as a key-sentence disclosing the chief thought of the writer. In logi¬cal prose the topic sentence is, as a rule, placed either at the beginning or at the end of the paragraph, depending on the logical pattern on which the paragraph is built. In the belles-lettres style the topic sentence may be placed in any part of the paragraph. It will depend on how the writer seeks to achieve his effect.

Thus in the paragraph we have been referring to, the topic sentence ('The party dropped the subject of a possible great war, after deciding that there wouldn't be one, there couldn't') is placed in the middle of the paragraph. The parts that precede and follow the topic sentence correspondingly-lead to ft O'the placards...') and develop it ('George, who...'). The topic sentence itself, being based on uttered represented speech, is stylistically a very effective device to show that the conclu¬sion (no war) was not based on sound logical argument, but merely on the small talk of the party ('there wouldn't', 'there couldn't').

However, paragraph building in belles-lettres prose generally lacks unity, inasmuch as it Is4govefned by other than logical-principles, two of the requirements being emotiveness and a natural representation of the situation depicted. Hence it- is sometimes impossible to decide which sentence should be regarded as the topic one. Each SPU of sever¬al combined into one paragraph may have its own topic sentence or be a topic sentence. In other words, there are no topic sentences in emotive prose as a rule, though there may be some paragraphs with one due to the prevalence of the logical element over the emotional or the aesthetic. In publicistic style paragraphs are built on more apparent logical prin-ciples, this style being intermediate between the belles-lettres and the scientific style. Let us subject to stylistic analysis the following para¬graph from Macaulay's essay on Oliver Goldsmith:

"While Goldsmith was writing "The Deserted Village" and "She Stoops to Conquer," he was employed in works of a very different kind, works from which he derived little reputation but much profit. He compiled for the use of schools a "History of Rome," by which he made Ј 300; a "History of England," by which he made Ј 600; a "History of Greece," for which he received Ј250; a "Natural History," for which the book-sellers covenanted to pay him 800 guineas. These works he produced without any elaborate research, by merely selecting, abridging and trans¬lating into his own clear, pure, and flowing language what he found in books well known to the world, but too bulky or too dry for boys and girls. He committed some strange blunders; for he knew noth¬ing with accuracy. Thus in his "History of England" he tells us that Naseby is in Yorkshire; nor did he correct this mistake when the book was reprinted. He was nearly hoaxed into putting into the "History of Greece" an account of a battle between Alexan¬der the Great and Montezuma. In his "Animated Nature" he re¬lates, with faith and with perfect gravity, all the most absurd lies which he could find in books of travels about gigantic Patagonians, monkeys that preach sermons, nightingales that repeat long con* versations. "If he can tell a horse from a cow," said Johnson, "that is the extent of his knowledge of zoology." How little Gold¬smith was qualified to write about the physical sciences is suffi¬ciently proved by two anecdotes. He on one occasion denied that the sun is longer in the northern* than in the southern signs. It was vain to cite the authority of Maupertuis. "Maupertuis!" he cried; "I understand those matters better than Maupertuis." On another occasion he, in defiance of the evidence of his own senses maintained obstinately, and even angrily, that he chewed his dinner by moving his upper jaw.

Yet, ignorant as Goldsmith was, few writers have done more to make the first steps in the laborious road to knowledge easy and pleasant..." - .

The topic sentence of this paragraph is placed at the beginning. It consists of two ideas presented in a complex sentence with a subordi¬nate clause of time. The idea of the topic sentence is embodied in the main clause which states that Goldsmith derived 'little reputation but much profit' out of some of his works. The subordinate clause of time is used here as a linking sentence between the preceding paragraph which deals with "The Deserted Village" and "She Stoops to Conquer" and the one under scrutiny.

The next paragraph of the passage, as the reader has undoubtedly observed, begins with a new topic sentence and is built on the same structural model: the subordinate clause sums up the idea of the pre¬ceding paragraph ('Yet, ignorant as Goldsmith was'), and the main clause introduces a new idea. This pattern is maintained throughout the essay and, by the way, in most of Macaulay's essays. This easy, flowing manner of exposition has a high degree of predictability. The reader, having read the first sentence and being conscious of the au¬thor's manner of building paragraphs, will not fail to grasp the gist of the passage at once.

It is interesting to point out how Macaulay develops the idea ex¬pressed in the topic sentence. He wished to show why Goldsmith derived 1) 'little reputation' and 2) 'much profit' from certain of his works. Of the two, Macaulay considers the former to be undoubtedly more significant than the latter. That is why he begins with insignificant details— enu¬merating Goldsmith's profits, and then devotes all the rest of the para¬graph to instances of Goldsmith's ignorance.

A paragraph in certain styles is a dialogue (with the reader) in the form of a monologue. The breaking-up of a piece of writing into para¬graphs can be regarded as an expression of consideration for the reader on the part of the author. It manifests itself in the author's being aware of limits in the reader's capacity for perceiving and absorbing informa¬tion. Therefore paragraphs in matter-of-fact styles, as in scientific prose, official documents and so on, are clear, precise, logically coherent, and possess unity, i. e. express one main thought. Paragraphs in emotive prose are combinations of the logical and the emotional. The aim of the author in breaking up the narrative into paragraphs is not only to facilitate understanding but also for emphasis. That is why paragraphs in the belles-lettres prose are sometimes built on contrast or on climax, as is the paragraph from "A Christmas Carol" by Dickens, quoted on p. 220.

The paragraph as a unit of utterance, is so far entirely the domain of stylistics. Yet there are obvious features of a purely syntactical char¬acter in the paragraph which must not be overlooked. That is why there is every reason to study the paragraph in syntax of the language where not only the sentence but also larger units of communication should be under observation. This would come under what we may call the 'macro-syntax' of the language.

C. COMPOSITIONAL PATTERNS OF SYNTACTICAL ARRANGEMENT

The structural syntactical aspect is sometimes regarded as the crucial issue in stylistic analysis, although the peculiarities of syntactical arrangement are not so conspicuous as the lexical and phraseological properties of the utterance. Syntax is figuratively called the "sinews of style".

Structural syntactical stylistic deviсеs are in special relations with the intonation involved. Prof. Peshkovsky points out that there is an interdependence between the intonation and syntactical properties of the sentence, which may be worded in the following manner: the more explicitly the structural syntactical relations are expressed, the weaker will be the intonation-pattern of the utterance and vice-versa, the stronger the intonation, the weaker grow the evident syntactical relations. This can be illustrated by means of the following two pairs of sentences:

'Only after dinner did I make up my mind to go there' and '/ made up my mind to go there only after dinner.1 'It was in Bucharest that the Xth International Congress of Linguists took place' and'The Xth International Congress of Linguists took place in Bucharest.'

The second sentences in these pairs can be made emphatic only by intonffion]~"tTie~TrrsTsentences are made emphatic bjrmeari^ortlie^ syh-

-ffiffifi^^ I...' and 'It was... that"?..'

——The""~problem of syntactical stylistic devices appears to be closely linked not only with what makes an utterance more emphatic but also wjth the more general problem of predication. As is known, the English affirmative sentence is regarded as neutral if it maintains the regular wpFd:6fder,^i.e. subject—predicate—object (or other secondary mem-БёпГ of the "sentence, as they are called). Any other order of the parts of the sentence may also carry the necessary information, but the impact on the reader will be different. Even a slight change in the word-order of a sentence or in the order of the sentences in a more complicated syn¬tactical unit will inevitably cause a definite modification of the mean¬ing of the whole. An almost imperceptible rhythmical design intro¬duced into a prose sentence, or a sudden break in the sequence of the parts of the sentence, or any other change^will add something to the vol¬ume of information contained in the original sentence.

Unlike the syntactical expressive means of the language, which are naturally used in discourse in a straight-forward natural manner, syn¬tactical stylistic de^/1cgs_jr<e_g^^ve4 as elaborate designs aimea al having, ja.Hefiii^

"any SD is meant to be understood as a device and is calculated to pro¬duce a desired stylistic effect.

When viewing the stylistic functions of different syntactical designs we must first of all take into consideration two aspects:

1. The juxtaposition of different parts of the utterance.

2. The way the parts are connected with each other. In addition to these two large groups of EMs.and SDs two other groups may be distinguished:

3. Those based on the peculiar use of colloquial constructions.

4. Those based on the stylistic use of-structural meaning.

Stylistic Inversion

W о r d-o r d e r is a crucial syntactical problem in many languages. In English it has peculiarities which have been caused by the concrete and specific way the language has developed. O. Jespersen states that the English language "...has developed a tolerably fired word-order which in the great majority of cases shows without fail what is the Sub¬ject of the sentence."2 This "tolerably fixed word-order" is Subject — ^efk _JPredicate) — ^Object JS^P^^P). Further, Jespersen mentions

<й statistical investigation of word-order made on the basis of a series of

<representative 19th century writers. It was found that the order S~

P—О was^used in from 82 to QTj^LSSu^L^Lsentences S^taininjipiii

three !Sefi:il^^^ for BeowuTT^asHrB'^M'TorKirig

^ПтесГГ prose* 40.

This predominance of S—P—О word-order makes conspicuous any change in the structure of the sentence and inevitably calls forth a mod¬ification in the intonation design.

Thfejnpst: с;р11^1сшд^ consi(dered^to,,.be,ihe firsFand the last: the first place because.JheJull force of the stress can De felj;_^tMT^lmiing of an utterance and the last place because there is_a pause aftgrJhL This traditional word-order Tias developed a definite intonation Design. Through frequency of fepet it ion this design Fas Imposed Tts<eIfT5fTany sentence even though there are changes introduced in the sequence of the component parts. Hence the clash between seman-tically insignificant elements of the sentence when they are placed in structurally significant position and the intonation which follows the recognized pattern.

Thus in Dickens' much quoted sentence:

"Talent Mr. Micawber has; capital Mr. Micawber has not."

The first and the last positions being prominent, the verb has and the negative not get a fuller volume of stressjhan they would in ordina¬ry (uninverted) wordPorHeFrTnlM^rMTnbnal word-order the predicates has and has not are closely attached to their objects talent and capital. English predicate-object groups are so bound together1 that when jye tear the object away from its predicate, the latter remains dangjjng in the sentence and in this position sometimes calls fortff'a cfiange: in mean¬ing of the predicate word. In the inverted word-order not 'only the objects talent and capital become conspicuous but also the predicates has and has not.

In this example the effect bf the inverted word-order is backed up by two other stylistic devices: antith§sis and parallel const ruction. Unlike grammatical inversion, st^yljstfcjily^ersion does riot change the structur¬al rneari|rigj^^ is, the change in the juxtapositioffbf lEe members of the senteECje.^does-.noI indicate structural meaning Jjut Ms^jp^rE^silperstru.eluriaj function. S^yJ^ i stj^ijiv e r s i о n ajms* "at att ach jn g 1ogi с a 1 stress or additional emotional colouring "f 6. the sur-tacB rnganjng of.. ГНе*11ГГё^ intonation pattern is the inevitable satellTfe^lriversion.

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.

The folIc^ing^^ are most frequently met in both English prose and English poetry.

1. The object Js placed at the beginning of the seatence (see the exam¬ple above)7 "~

pl\_   ClUV^VN-/.

2. Theattribute is placed after the word it modifies (postposition Of the'attribute). This model is often used when there is more than one attribute, for example: *

'"''""""""""""''With fingers weary and worn..." (Thomas Hood) "Once upon a midnight dreary..." (E. A. Poe)

3. a) JThe predicative is {^jaЈe<i ^^ as in "A good generous prayer it was." (Mark Twain)

or b) the predicative stands before the. link-verb and fajQlJlj^^Bjjiced^ before the sutTject, as m

"Rude am I in my speech..." (Shakespeare)

4. JThe adyeriiijai^Qdifier is placed at the beginning pЈJ]i^eiT.tence, as in:

"Eagerly I wished the morrow." (Poe) "My dearest daughter, at your feet I fall." (Dryderi) "A tone of most extraordinary comparison Miss Tox said it in."

(Dickens)

5. Both modifier and predicate stand before the subject, as in:

"In went Mr. Pickwick." (Dickens) "Down dropped the breeze..." (Coleridge)

These five models comprise the most^cqmrnori els of inversion.

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 unintelligi¬ble, In this case there may be an almost unlimited number of rearrange¬ments of the members of the sentence.

Inversion  s a stylistic: JjyiJs^ahvays sense-:notivЈtЈd

a tindencyTo^account for inversion in poetry by rhythmical c;oimder-IRoHgrThls'may sometimes be true, but really talented poets will never sacrifice sense for form and in the majority of cases inversion in poetry is called forth by considerations of content rather than rhythm.

Inverted word-order, or inversion, is one of the forms of what are known as emphatic constructions. What is generally called traditional word-order is iiotTiTrig~niore "than" unemphatic construction. Emphatic constructions have so far been regarded as non-typical structures and therefore are considered as violations of the regular word-.order in the sentence. But in practice these structures are as common as the lixed or traditional word-order structures. Theref ore^Tn'versTonnrnust'^e" re-garded as afrexpressive means of tlie language havingJ^ypiSSil structural models.

Detached Construction

a sentence by some specific

consideration of the writer is placed so that it seems formally independ-

ent of Ще^ш^1У^^ parts of structures are called lie t ached. They seem_tCLjdanЈle in the sentence as isolated parts. """""The detacfted part, being torn away from its referenf, assumes a greater llegree of significance and is given prominence by intonation. The structural patterns of detached constructions have not yet been classified, but the most noticeable cases are those in which;.. aiLjIttri-bute or an adverbiajjnqdifier is placed not in immediate proximity to Its referent, but in somebiher positFon", aTTfi thefollowingexamples:

1) "Steyne rose up, grinding his teeth, pale, and with fury in

his eyes." (Thackeray)

2) "Sir Pitt came in first, very much flushed, and rather un¬steady in his gait." (Thackeray)

Sometimes a nominal phrase is thrown into the sentence forming a syntactical unit with the rest of the sentence, as in:

"And he walked slowly past again, along the river—an evening of clear, quiet beauty, all harmony and comfort, except within his heart." (Galsworthy)

The essential quality of detached construction lies in the fact that the isolated parts represent a kind of independent whole thrust into The sentence or placed in a position which will'make the phrase (or word) seem independent. But a detached phrase cannot rise to the rank of a primary member of the sentence—it always remains secondary from the semantic point of view, although structurally it possesses all the fea¬tures of a"primary:'~member. This clash of the structural and semantic aspects of detached constructions produces the desired effect—forcing the reader to interpret the logical connections between the component parts of the sentence. Logical ties between them always exist in spite of the absence of syntactical indicators.

Detached constructions in their common forms make the written vari^^^langua^l'jalcin to* the spoken variety where the relation be¬tween the component parts is effectively materialized by means of into-TTation. Detached construction, as it were, becomes a peculiar device bridging the norms of written and spoken language.

This stylistic device is akin to inversion. The functions are almost the same. But detached construction produces a much stronger effect, inasmuch as it presents 'parts of the uttexance^significant from the au¬thor's ppiflt^Tyle^vIffi''T''.^^'nDif"'less independent manner.    " """"Here are some more examples of-detached constructions:

"Daylight was dying, the moon rising, gold behind the pop¬lars." (Galsworthy)

"'I want to go,7 he said, miserable" (Galsworthy) "She was lovely: all of her—delightful." (Dreiser)

The italicized phrases and words in these sentences seem to be isolat¬ed, but still the connection with the primary members of the correspond¬ing sentences is clearly implied. Thus 'gold behind the poplars' may be

interpreted as a simile or a metaphor: the moon like gold was rising behind the poplars, or the moon rising, it was gold...

Detached construction sometimes causes the simultaneous realiza-tion~ofTwo grammatical meanings of a word. In the "sentence" Ч want to go,' He said, miserable", the last word might possibly have been under¬stood as an adverbial modifier to the word said if not for the comma, though grammatically miserably would be expected. The pause indicated by the comma implies that miserable is an adjective used absolutely and referring to the pronoun he.

The same can be said about Dreiser's sentence with the word de¬lightful. Here again the mark of punctuation plays an important role. The dash standing before the word makes the word conspicuous and, being isolated, it becomes the culminating point of the climax—  lovely... —delightful, i. e. the peak of the whole utterance. The phrase all of her is also somehow isolated. The general impression suggested by the implied intonation, is a strong feeling of admiration; and, as is usually the case, strong feelings reject coherent and logical syntax.

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_cpnstruction as a stylistic device is a typification of the synractical peculiarities of colloquial language.

Detached construction is a stylistic phenomenon which has so far been little investigated. The device itself;js_clQsely connected wiibLlUe intonation pattern of the utterance. In conversation any word or phrase or even sentence may be made more conspicuous by means of intonation. Therefore precision in the syntactical structure of the sentence is not so necessary from the communicative point of view. But it becomes vitally important in writing.1 Here precision of. syntactical-relations is the only way to make the utterance fully communicative. Therefore when the syntactical relations become obscure, each member of the sentence that seems to be dangling becomes logically significant.

A variant of detached construction is p a re n t h e sis,

"Parenthesis is a qualifying, explanatory or appositive word^ phrase, clause, sentence, or other sequence which interrupts^ syntactic construc¬tion without otherwise affecting it, having often % cffafacteristic into¬nation and indicated in writing by commas, brackets or dashes."2

In fact, parenthesis sometimes embodies a considerable volumejDf predicativeness, thus giving the utterance.an. additional nuance of mean¬ing or a tinge of emotional colouring.

Parallel Construction

Parallel construction is a device which may be encountered not so much in the sentence as in the macro-structures dealt with earlier, viz. the SPU and the paragraph. 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 houses—that 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 con¬junction 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 di¬rect 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 sen¬tences, as in:

"The seeds ye sow — another reaps, The robes ye weave—another wears, The arips ye forge — another bears."