Em based on violation of the word order

Inversion - the intentional violation of the fixed word order in the sentence

Out came Margaret to join them, looking at the hills. Out came the servants from the kitchen. (D. Lessing)

• Grammatical inversion - devoid of stylistic information

Stylistic inversion - a change of word order which gives logical stress or emotional colouring to the units placed in an unusual syntactical position

Stylistic inversion is sense-motivated

types

Complete inversion

On the centre of the lake lay the true centre of the Western World. (S. Fitzgerald)

Partial inversion

Help them you must, but help them you couldn’t. (F.O’Connor)

Past the barn he ran. (J.Steinbeck)

predicate - In came Jack.

predicative - Insolent Connor’s conduct was.

direct object - Little chances Benny had.

Indirect object - To her family Martha gives all her time.

attribute - This is a letter congratulatory.

adv. modifier - To the disco Hilda went.

• Is used:

• to foreground a certain notion

Detachment - an isolation of some parts of the sentence

The detached elements may be:

attribute – His eyes had a queer look, black and flat. (R.Chandler)

apposition - They put him under laughing–gas, poor lad. (J.K.Jerome)

direct object – Talent, Mr. Micawber has, capital, Mr. Micawber has not. (Ch. Dickens)

indirect object – It was indeed, to Forsyte eyes, an odd house. (J. Galsworthy)

adv.mod.– And my soul from out that shadow that lies floating on the floor shall be lifted – nevermore! (E. Poe)

Is used

- to attach a logical stress to the utterance

separation / syntactical split – the split of the noun phrase by the adjunct which is removed from the word it modifies

He had never seen the truth, before, about anything. (R.Warren)

• She also conveyed the impression – how I do not know, for her manner was almost wearily indifferent – of being at least twice as much alive as most people. (A. Christie)

• 1. -Don’t you think he’s rather good-looking? - In a way. - What kind of a way? - Away off. (Sh. Anderson)

2. The widow Douglas, she took me for her son. (M. Twain) 3. The day passed on. Noon,afternoon, evening. Sunset. (J. Galsworthy) 4. I can say no more, but blessings, blessings on all the dear house I leave. (W. Thackeray)

5. It felt smooth, and soft, and warm, and comforting. (R.Chandler)

6. “That’s. I didn’t. Nerves, you know. Highly strung.” (G. Greene)

7. “My God! If the police come… find me here …. (J. Galsworthy)

8. With Bewick on my knee, I was then happy: happy at least in my way. (Ch. Bronte)

9. You have made a nice mess, you have. (J.K.Jerome)

• Sd based on interaction of several syntactical constructions in a certain context

Prof. Galperin - compositional patterns of syntactical arrangement

Parallelism - the repetition of several identical syntactical patterns closely following one another

I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. (R. Chandler)

background for stylistic convergence:

And it must have been fun – though I can’t remember much about it – to sail home again; and fun, of course, to get home. And pleasant, perhaps, to reappear at school as a man of wide world. And endurable – it had to be – to stay there one more year. (R. Kent)

Types:

Partial parallelism

He wouldn’t listen to the music any more. He would break the record. He would give the machine away. He would lift the blind of the window. He would turn on all the lights and open his eyes. He would come to the room only to sleep. He would go down to the pool-room and find a couple of boys. He would stop being alone. (W. Saroyan)

Complete parallelism

He’d seen people. He’d seen roads. He’d seen fields. He’d seen trees.