Indefinite pronouns:

“Something to eat” (Winnie-the-Pooh, A.Milne); "This Mr Body" (J.K. Oates “Expensive People”);

"I watch Miss Clare jump down in that there par'chute"; "Ye see this here arm?" He held out his bony right arm. "Well, sir, they could tie me to a cottonwood tree this minute, and hitch a team to this here arm and they could pull 'er out slow by the roots, and I'd let them, if they'd make me forty again...".

Personal pronouns.

- The initial usage of a personal pronoun: “When he finished packing, he walked out on to the third-floor porch of the barracks brushing the dust from his hands…” (Compositional retardation that begets to the story’s constraint).

"Не believed he was safe" - the exposition of Toni Morrison’s novel “Tar Baby”;

"She was helping the other girls of the village..." – the starting point of I. Stone’s novel “The Greek treasure”;

Demonstrative pronouns:

"In the late summer of that year..." – the starting point of E.Hemingway’s “Farewell to Arms”;

“In those days cheap apartments were almost impossible to find in Manhattan, so I had to move to Brooklyn” – the starting point of W. Styron’s “Sophie’s Choice”.

Auxiliary words:

Conjunction “and”.

"They buried the old man on a hill and said some words over him, and unloaded the car and had something to eat, because there was food in the kitchen; and they did nothing for three days but fix the house and look at the land and lie in the good beds, and then look at one another in surprise that all this was happening this way, and their stomachs were full and there was even a cigar for him to smoke in the evenings" (R. Bradbury. The Scythe).

Prepositions, prepositional and spatial adverbs.

"I slipped along behind the bar and out through the kitchen in back all the way out. I went clear around the outside of the square and went in through the gate and out onto the dock and got on board" (To Have and Have Not).

"The car went out of the square, along through the side street, out under the trees and down the hill and away from Pamplona" (Fies­ta).

"They took me down behind the line of officers below the road toward a group of people in a field by the river bank" (A Farewell to Arms).

"I went quickly down the two steps, through the yard into the garden" (W. Golding. The Pyramid).

Autosemantic lexis.

Emotional and evaluative meaning of the lexis:

“A pale, worried pencil of a man” (J. O'Hara); “mean, modern and pretentious suburbs” (J. Joyce).

“Не seemed prosperous, extremely married and unromantic” (S. Lewis).

Metaphor.

Their thick lips were walls" (Sh. Anderson);

"His lips were bloodless. The iron teeth of confinement and privation had been slowly filing them down for twenty years" (Ch. Dickens);

"Laughter played around his lips" (Ch. Dickens); "The rosebuds of her lips" (Th. Hardy).

Metonymy (synecdoche).

"The car eased into the road"; "He extricated himself from the bedclothes"; "the shoes squished the mud"; "she came to fling out a pan of water" (R.P.Warren).

Sociolinguistic meaning of the lexis (ethnical meaning, ideological meaning, the notion of lacuna).

Freedom, democracy, human rights, propaganda, etc.

"Look here, boy" (A. Hailey).

Stylistic meaning.

Immeasurable potential of the context (1 + 1 >2.). Contextual meaning (the changeable meaning of a word against certain lexical backgrounds).

"She popped the basket on the table" (= dumped) (S. Chaplin); "It's the fashion, I know, to pop in and out of a house. Same idea as an hotel — perfect freedom of action" ( = to come and go) (A. Chris­tie); "Makes you feel a bit gruey, fellows popping off all over the place" (= falling down dead) (K. Kesey).

Zeugma: "She wore her hair and her clothes and her bit of lipstick in such a way..." (M. Spark).

Key words and thematic words (words repeated in a work of fiction). Such words denote main notions, which contribute to the plot and subject revelation of the text.

The word “the Italian” in the novel by I.Murdok gradually implies semantic components such as “nationality”, “housemaid”, “confident”, “passionate person”, “lady-love”.

The word “fog” is repeated 18 times in Galsworthy’s description of London and grows to a symbol of unhappiness.

The word “crazy” is a key word in J. Heller (Catch-22).

Individual artistic meaning of lexis: is defined as a generalization of a number of contextually actualized meanings, their implementation being determined by ideal, thematic and compositional development of a work of fiction.

Grammatical meaning of lexis (expressed via categories of tense, voice, transitiveness, gender).

Procedural verbs: the continuous tense delimits the state, the process and the event.

"'The doctor, he writes me that you are feeling much better.' 'Oh, yes,' she was agreeing, in social brightness" (R. P. Warren);

"They must have seen something on my frozen face, for my father put out a hand, clumsily, and laid it on my sleeve. 'We were forgetting how much she means to you, Oliver'" (W. Golding).

"She did not know how long she had been seeing him, but she did know that she had been seeing him for a time — how long you couldn't tell" (R. P. Warren).

Indefinite-Perfect Opposition: "Не thought: were we happy tonight because we were happy or because once, a long time back, we had been happy? Was our happiness tonight like the light of the moon which does not come from the moon for the moon is cold and has no light of its own, but is reflected light from far away?" (R. P. Warren).

Past indefinite: "I died five years ago" (M. Spark)

Transitiveness/ intransitiveness: "She dressed and lied her way out of the house"; "She scolded the boys into their bathing suits" (J. Updike. Marry me); "We talk ourselves into all kinds of messes" (J. Barth. The End of the Road); "He nod­ded and let himself be gestured into silence" (D. Uhnak. Inves­tigation).

Noun. Actualization of language units via the categories of gender and number: "… and fell into one of those unbelievably deep sleeps that don't leave you feeling rested" (D. Uhnak. Investigation).

4. Literature is a conglomerate of sentences as far as syntax is the major organizer of a speech work.

1) factors which contribute to the specificity of syntax in a work of art (individual features of the author; expressive, compositional, thematic and other tasks determined by a peculiar nature of the fictional discourse).

2) actualized linguistic units on the syntactical level. The main parameters of syntactical actualization are as follows: sentence length; sentence structure (structure complication, simplification); intonation (via punctuation and word order).