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Framing.The initial elements are repeated at the end of an utterance or a paragraph (e.g. You've made a nice mess, you have. The day had fairly begunto break. Many of the lamps were already extinguished; a few country wagons were slowly toiling on, towards London; now and then, a stage coach covered with mud, rattled briskly by... The public houses were already open... The busy morning of the half of the London population had begun).
Anadiplosis is a repetition of the word or group of words that end one clause (or sentence) at the beginning of the next one (e.g. She was ever so beautiful more beautiful than "D ", or "Mademoiselle", or "Auntie" June or even "Auntie Polly", to whom he had taken a fancy).
Chain Repetition is the succession of several anadiplosis (e.g. Rapidly the feeling became a strong hunch, the hunch became a
conviction, and the conviction became a compulsion. He absolutely HAD to get home).
Enumeration is a stylistic device by which separate things, properties or actions are brought together forming a chain of grammatically and semantically homogeneous parts of an utterance (e.g. She wasn't sure of anything any more, of him, herself, their friends, her work, their future).
Suspense (or retardation) is a stylistic devise based on the author's desire to delay giving the reader (or listener) the most important information. In trying to do so he puts the less important, subordinate facts and details first withholding the mam idea till the end of the sentence (e.g. Two women who were hastening home to scramble their husbands' dinners together - it was five minutes to four - stopped to look at her). The suspense in the sentence is organised by introducing a subordinate clause and a parenthetic remark between the subject and the predicate. The devise of suspense is especially favoured by orators. Its function is to keep the reader/listener in a state of uncertainty and expectation.
Climax (Gradation). An ascending series of words or utterances in which intensity and significance increase step by step (e.g. Not a dollar - not a penny of my money will 1 devote to anyone who could be guilty of such a crime). Depending on the nature of the phenomenon emphasised one can differentiate between three types of climax: logical, emotional and quantitative.
In logical climax every consecutive word or utterance is more significant or essential than the preceding one from the logical point of view. Thus the objective or subjective author's attitude towards the thing is disclosed (e.g. Bat for the M.R.C.P. it's the most difficult medical exam in the whole school. It's- it's murder! Tul! She's a lamb, a dove, a fool to him). In emotional climax consecutive words or utterances are more powerful from the emotional point of view (e.g. She was a crashing, she was a stupendous, she was an excruciating bore). Quantitative climax is based on the intensification of quantity in each consecutive word„ word group or utterance (e.g. Mary had counted the months, the weeks, the days, the hours to Antony's return. The vast stretch of lion-coloured sands, the vaster stretch of tumbling grey sea, the still vaster stretch of disordered grey-inky clouds which passed endlessly at a great rate from west to east across the firmament).
Syntactical stylistic devices, based on peculiar syntactical arrangement
The English language is characterised by such specific syntactical feature as fixed word order. Normative is the following word order in a sentence, presented symbolically Subject, Predicate, Object, Modifier. Any shift from this word order results in some effect, and deviant structures can carry stylistic function.
Stylistic Inversion. Inversion or displacement of some component of a sentence aims at giving additional logical or emotional stress to the meaning of the utterance. Inversion may be complete - when the predicate is displaced, and partial with the displacement of secondary members of the sentence. There are 5 structural types of inversion: 1) the object is placed in pre-position (e.g. Over everything she brooded and brooded); 2) the attribute is placed after the word it modifies (e.g. Spring begins with the first narcissus, rather cold and shy and wintry); 3) the predicative is placed before the subject (e.g. Shameless and fascinating the advertisements were); 4) the adverbial modifier is placed at the beginning of the sentence (e.g. Weakly she climbed the stairs and opened the door); 5) both the modifier and predicate stand before the subject (e.g. There was a rustling in the bushes on his left and suddenly like a cuckoo from a nursery clock out popped a large black bird).
Detachment is a stylistic device based on the author's desire to give a greater significance to a secondary member of the sentence, usually an attribute or an adverbial modifier. This member is detached from the rest of the sentence by means of such punctuation marks as commas, dashes or full stops. Being formally torn away from the word it syntactically depends on this particular element is closely related to it semantically (e.g. He looked round, expectant. She was gone. For good.). Sometimes a detached construction may acquire the form of an explanatory or qualifying remark put into a sentence. Such variant of detachment is called parenthesis. In writing parenthesis is indicated by commas, brackets or dashes (e.g. It was indeed, to Forsyte eyes, an odd house).
Parallel Constructions. The necessary condition in parallel constructions is identical or similar syntactical structure in two or more sentences or parts of a sentence in close succession (e.g. Summer was silent as well. In much of what had been the United States, no birds sang, no dogs barked, no frogs croaked, no fishes leaped. The south had been truly shabby, faded and desperate.
The taps had been large and brass, the floor had been of spotted marble, the staircases had been wide, the porter had been thirteen years old, and the roof garden had been utterly empty, deserted like a closed building site). The two examples show, that one should differentiate complete (as in the first case) and incomplete, ax partial parallelism (as in the second example).
Chiasmus is also based on the repetition of syntactical patterns, but it has a reversed order in one of the two utterances (e.g. She was a good sport about all this, but so was he). Chiasmus is a syntactical, not a lexical device and one must differentiate it from parallel constructions or epigrams (e.g. He sang as he walked and he walked as he sang, and got more inflated every minute).
Antithesis. In order to stress certain qualities of the thing described it may be necessary to set it against another thing possessing contrasting features. Antithesis is a balanced two-step structure in which the antagonistic objects or ideas are presented by dictionary or contextual antonyms, as in: For many are called but Jews are chosen. In the case of developed antithesis we deal with semantically opposed statements or pictures (e.g. It was very sad in the street, Jake holding the box of oranges, and him walking beside Jake telling him to smile big, and the sky was sad, and there were no /eaves on the trees, and the street was sad. and it was very funny, the smell of the oranges was clean and good and they looked so nice it was very funny. The oranges looked so nice and they were so sad). One should differentiate antithesis, which is a stylistically coloured opposition, from a literary device termed contrast. The latter is based on logical opposition and adds nothing to the meaning of an utterance
Lexico-Syntactical Repetition is a stylistic device based on repeating words, word groups or sentences for some stylistic purposes: to draw the attention of the reader to the key-word of the utterance, to emphasise the main idea of the sentence. There are several formal varieties of repetition.
Simple Repetition is a repeated use of the same word or sentence one after the other (e.g. He was the man in the Iron Mask. A grey metallic face with iron cheekbones and narrow iron brow, iron folds, hard and unchanging, ran perpendicularly down his cheeks, his nose was the iron beak of some thin delicate bird of ravine).
Anaphora. The deliberate repetition of a word or phrase at the beginning of several successive clauses or paragraphs (e.g. At Crome all the beds were ancient hereditary pieces of furniture. Huge beds like four-masted ships..Beds carved and inlaid. Beds painted and gilded. Beds of walnut and oak, of rare exotic woods. Beds of every date and fashion).
Epiphora, as opposed to anaphora, is the repetition of the same word or phrase at the end of successive clauses, sentences and stanzas (e.g. She gave me an impression of extraordinary tightness. Her plain face with its narrow lips was tight, her skin was stretched lightly over her bones, her smile was tight, her hair was tight, her clothes were light, and the white shawl she wore had all the effect of black bombazine).
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