Assignments for self-control

• What syntactical stylistic devices dealing with arrangement of sen­tence members do you remember?

• What types of inversion do you know? Which of them have you met more often and why?

• What is suspense, how is it arranged and what is its function?

• What do you know about detachment and punctuation used with de­tached sentence members?

• What sentence members are most often detached?

Ellipsis

The second group of syntactical SDs deals not so much with specificities of the arrangement as with the complete­ness of sentence-structure. The most prominent place here belongs to ellipsis, or deliberate omission of at least one member of the sentence.

As in colloquial speech, this device consists in omission of some parts of the sentence that are easily understood from the context or situation. But, while in colloquial style this omission simply makes the speech more compact ( Where is he ? — In the garden), in literary descriptions it may give the construction an additional expressive or emotional colouring. Note, for example, the solemn tone of the extracts below with the predicate omitted:

And on that cheek, and o 'er that brow,

So soft, so calm, yet eloquent,

The smiles that win, the tints that glow,

But tell of days in goodness spent,

A mind at peace with all below,

A heart whose love is innocent! (Byron)

Youth is full of pleasance,

Age is full of care;

Youth like summer morn,

Age like winter weather. (Shakespeare)

The sea is but another sky,

The sky a sea as well. ... ( Longfellow)

In contemporary prose ellipsis is mainly used in dialogues where it is consciously employed by the author to reflect the natural omissions characterizing oral colloquial speech. Often ellipsis is met in the author's introductory remarks commenting the speech of the characters. Elliptical remarks in prose resemble stage directions in drama. Both save only the most vital information letting out those bits of it which can be easily reassembled from the situation. It is the situational nature of our everyday speech which heavily relies on both speakers' awareness of the conditions and details of the communica­tion act that promotes normative colloquial omissions. Imitation of these oral colloquial norms is created by the author through ellipsis, with the main function of achieving the authenticity and plausibility of fictitious dialogue.

While in colloquial speech ellipsis is the natural outcome of ex­tra-lingual conditions, in other varieties of speech it is used with certain stylistic aims in view. Thus it imparts a kind of emotional tension to the author's narration. Sometimes the omission of sub­jects contribute to the acceleration of the tempo of speech:

«He became one of the prominent men of the House. Spoke clearly and modestly, and was never too long. Held the House where men of higher abilities «bored» it» (Collins).

Ellipsis is also characteristic of such special spheres of written speech as telegraphic messages and reference books (in both of them it is used for the sake of brevity).That is why ellipsis is the basis of the so-called telegraphic style, in which con­nectives and redundant words are left out. In the early twenties British railways had an inscription over luggage racks in the carriages: "The use of this rack for heavy and bulky packages involves risk of injury to passengers and is prohibited." Forty years later it was reduced to the elliptical: "For light articles only." The same progress from full com­pleted messages to clipped phrases was made in drivers' directions: "Please drive slowly", "Drive slowly", "Slow".

The biggest contributors to the telegraphic style are one-member sentences, i.e. sentences consisting only of a nominal group, which is semantically and communicatively self-sufficient. The function of, so called, nominative sentences in speech consists in stating the existence of the thing named:

«London. Fog everywhere. Implacable November weather». '

The brevity of nominative sentences renders them especially fit for descriptions:

«Dusk — of a summer night».

A succession of nominative sentences reflects the state of mind of the hero and invigorates the dynamic force of narration:

«But if they should! If they should guess! The horror! The flight! The exposure! The police! » (Dreiser).

Nominative sentences are often used in stage remarks.

Isolated verbs cannot be considered one-member sentences as they always rely on the context for their semantic fulfillment and are thus heavily ellipticized sentences.

In creative prose one-member sentences are mostly used in descriptions (of nature, interior, appearance, etc.), where they produce the effect of a detailed but laconic picture foregrounding its main components; and as the background of dialogue, mentioning the emotions, attitudes, moods of the speakers.

In apokoinu constructions the omission of the pronominal (adver­bial) connective creates a blend of the main and the subordinate clauses so that the predicative or the object of the first one is simulta­neously used as the subject of the second one. Cf.: "There was a door led into the kitchen." (Sh.A.) "He was the man killed that deer." (R.W.) The double syntactical function played by one word produces the general impression of clumsiness of speech and is used as a means of speech characteristics in dialogue, in reported speech and the type of narrative known as "entrusted" in which the author entrusts the telling of the story to an imaginary narrator who is either an observer or participant of the described events.

The last SD which promotes the incompleteness of sentence structure is break-in-the-narrative (aposiopesis, умолчание). These sentence structures are also called unfinished sentences. Aposiopesis (which means «silence») refers to cases when the speaker stops short in the very beginning or in the middle of the utterance, thus confining his mode of expression to a mere allusion, a mere hint at what remains unsaid. Aposiopesis is a deliberate abstention from bringing the utterance up to the end:

«She had her lunches in the department-store restaurant at a cost of sixty cents for the week; dinners were one dollar five cents. The evening papers... came to six cents; and Sunday papers... were ten cents. The total amounts to 4 dollars 76 cents. Now, one had to buy clothes, and-» (O 'Henry).

Break is also used mainly in the dia­logue or in other forms of narrative imitating spontaneous oral speech. It reflects the emotional or/and the psychological state of the speaker: a sentence may be broken because the speaker's emotions prevent him from finishing it. Another cause of the break is the desire to cut short the information with which the sentence began. In such cases there are usually special remarks by the author, indicating the intentional abruptness of the end. (See examples in Exercise III.) In many cases break is the result of the speaker's uncertainty as to what exactly he is to promise (to threaten, to beg).

To mark the break, dashes and dots are used. It is only in cast-iron structures that full stops may also appear, as in the well-known phras­es "Good intentions, but", or "It depends".

Also break-in-the-narration focuses on a sudden stop in the middle of a sentence when the continuation is quite clear: 'Don't you do this, or ... '(a threat); 'These are certainly good intentions, but... ' (the continuation is clear from the well-known proverb that good intentions pave the way to Hell); Keith: My God! If the police come — find me here — (Galsworthy)

Exercise III. Discuss different types of stylistic devices dealing with the completeness of the sentence:

1. In manner, close and dry. In voice, husky and low. In face, watchful behind a blind. (D.)

2. Malay Camp. A row of streets crossing another row of streets. Mostly narrow streets. Mostly dirty streets. Mostly dark streets. (P. A.)

2. His forehead was narrow, his face wide, his head large, and his nose all on one side. (D.)

3. A solemn silence: Mr. Pickwick humorous, the old lady serious, the fat gentleman cautious and Mr. Miller timorous. (D.)

4. He, and the falling light and dying fire, the time-worn room, the solitude, the wasted life, and gloom, were all in fellowship. Ash­es, and dust, and ruin! (D.)

5. She merely looked at him weakly. The wonder of him! The beau­ty of love! Her desire toward him! (Dr.)

6. Ever since he was a young man, the hard life on Earth, the panic of 2130, the starvation, chaos, riot, want. Then bucking through the planets, the womanless, loveless years, the alone years. (R.Br.)

7. H.: The waves, how are the waves? C.: The waves? Lead.

//.. And the sun?

C: Zero.

//.: But it should be sinking. Look again.

C.: Damn the sun.

//.: Is it night already then?

C.: No.

//.. Then what is it?

C.: Grey! Grey! GREY!

//.: Grey! Did I hear you say grey?

C: Light black. From pole to pole. (S.B.)

9. I'm a horse doctor, animal man. Do some farming, too. Near Tulip, Texas. (T.C.)

10. "I'll go, Doll! I'll go!" This from Bead, large eyes larger than usual behind his horn-rimmed glasses. (J.)

11. A black February day. Clouds hewn of ponderous timber weigh­ing down on the earth: an irresolute dropping of snow specks upon the trampled wastes. Gloom but no veiling of angularity. The second day of Kennecott’s absence. (S.L.)

12. And we got down at the bridge. White cloudy sky, with mother- of-pearl veins. Pearl rays shooting through, green and blue- white. River roughed by a breeze. White as a new file in the dis­tance. Fish-white streak on the smooth pin-silver upstream. Shooting new pins. (J.C.)

13. This is a story how a Baggins had an adventure. He may have lost the neighbours' respect, but he gained—well, you will see wheth­er he gained anything in the end. (A.T.)

14. "People liked to be with her. And—" She paused again, "—and she was crazy about you." (R.W.)

15. What I had seen of Patti didn't really contradict Kitty's view of her: a girl who means well, but. (D.U.)

16. "He was shouting out that he'd come back, that his mother had better have the money ready for him. Or else! That is what he said: "Or else!" It was a threat." (Ch.)

17. "Listen, I'll talk to the butler over that phone and he'll know my voice. Will that pass me in or do I have to ride on your back?"

"I just work here," he said softly. "If I didn't—" he let the rest hang in the air, and kept on smiling. (R.Ch.)

18. I told her, "You've always acted the free woman, you've never let any thing stop you from—" He checks himself, goes on hurried­ly. "That made her sore." (J.O'H.)

19. "Well, they'll get a chance now to show—" Hastily: "1 don't mean-But let's forget that." (O'N.)

20. And it was unlikely that anyone would trouble to look there—un­til—until—well. (Dr.)

21. There was no breeze came through the door. (H.)

22. I love Nevada. Why, they don't even have mealtimes here. I nev­er met so many people didn't own a watch. (A.M.)

23. Go down to Lord and Taylors or someplace and get yourself something real nice to impress the boy invited you. (J.K.)

24. There was a whisper in my family that it was love drove him out and not love of the wife he married. (J.St.)

ASSIGNMENTS FOR SELF-CONTROL

• What syntactical stylistic devices deal with the completeness of sen­tence-structure?

• What types of ellipses do you know and where is each of them used predominantly?

• What member of the sentence represents "one-member sentences"?

• Where are apokoinu constructions used?

• What additional information about the act of communication and its participants is conveyed by the break?

• What punctuation is used in the break?