- •Irony 133
- •Interjections and Exclamatory Words 140
- •Part iintroduction
- •I. General notes on style and Stylistics
- •2. Expressive means (em) and stylistic devices (sd)
- •3. General notes on functional styles of language
- •4. Varieties of language
- •5. A brief outline of the development of the english literary (standard) language
- •6. Meaning from a stylistic point of view
- •Part II stylistic classification of the english vocabulary
- •I. General considerations
- •In accordance with the already-mentioned division of language into literary and colloquial, we may represent the whole of the word-stock
- •2. Neutral, common literary and common colloquial vocabulary
- •3. Special literary vocabulary a) Terms
- •B) Poetic and Highly Literary Words
- •C) Archaic, Obsolescent and Obsolete Words
- •D) Barbarisms and Foreignisms
- •E) Literary Coinages (Including Nonce-Words)
- •4. Special colloquial vocabulary a) Slang
- •B) Jargonisms
- •C) Professionalisms
- •D) Dialectal words
- •E) Vulgar words or vulgarisms
- •F) Colloquial coinages (words and meanings)
- •Part ш phonetic expressive means and stylistic devices general notes
- •Onomatopoeia
- •Alliteration
- •Part IV lexical expressive means and stylistic devices a. Intentional mixing of the stylistic aspect of words
- •B. Interaction of different types of lexical meaning
- •1. Interaction of primary dictionary and contextually imposed meanings
- •Metaphor
- •Metonymy
- •2. Interaction of primary and derivative logical meanings Stylistic Devices Based on Polysemantic Effect, Zeugma and Pun
- •3. Interaction of logical and emotive meanings
- •Interjections and Exclamatory Words
- •The Epithet
- •Oxymoron
- •4. Interaction of logical and nominal meanings Antonomasia
- •C. Intensification of a certain feature of a thing or phenomenon
- •Periphrasis
- •Euphemism
- •Hyperbole
- •D. Peculiar use of set expressions
- •The Cliche
- •Proverbs and Sayings
- •Epigrams
- •Allusions
- •Decomposition of Set Phrases
- •Part V syntactical expressive means and stylistic devices a. General considerations
- •B. Problems concerning the composition of spans of utterance larger than the sentence
- •Supra-Phrasal Units
- •The Paragraph
- •C. Compositional patterns of syntactical arrangement
- •Stylistic Inversion
- •Detached Construction
- •Parallel Construction
- •Chiasmus (Reversed Parallel Construction)
- •Repetition
- •Enumeration
- •Suspense
- •Climax (Gradation)
- •Antithesis
- •D. Particular ways of combining parts of the utterance (linkage)
- •Asyndeton
- •Polysyndeton
- •E. Particular use of colloquial constructions
- •Ellipsis
- •Break-in-the-Narrative (Appsiopesis)
- •Question-in-the-Narrative
- •Represented Speech
- •A) Uttered Represented Speech
- •B) Unuttered or Inner Represented Speech
- •F. Stylistic use of structural meaning
- •Rhetorical Questions
- •Litotes
- •Part VI functional styles of the english language
- •Introductory remarks
- •A. The belles-lettres style
- •1. Language of poetry
- •A) Compositional Patterns of Rhythmical Arrangement Metre and Line
- •The Stanza
- •Free Verse and Accented Verse
- •B) Lexical and Syntactical Features of Verse
- •2. Emotive prose
- •3. Language of the drama
- •B. Publicists style
- •1. Oratory and speeches
- •2. The essay
- •3. Journalistic articles
- •C. Newspaper style
- •1. Brief news items
- •2. Advertisements and announcements
- •3. The headline
- •4. The editorial
- •D. Scientific prose style
- •E. The style of official documents
- •Final remarks
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 Subject 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 modification 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 ordinary (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 meaning 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 structural 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 example 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 unintelligible, In this case there may be an almost unlimited number of rearrangements 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.