SYNTACTICAL STYLISTIC DEVICES

3.1. SD BASED ON FORMAL AND SEMANTIC INTERACTION OF SYNTACTICAL CONSTRUCTIONS
Parallelism is a repetition in close succession of the constructions formed by a similar syntactical pattern. Like inversion, parallelism may be complete and partial. Complete parallelism is observed when the syntactical pattern of the sentence that follows is completely similar to the proceeding one, e.g. He door-bell didn't ring. His telephone-bell didn't ring (D. Hammett).
Parallelism is considered to be partial when either the beginning or the end of several neighbouring sentences are structurally similar, e.g. I want to see the Gorgensons together at home, I want to see Macawlay and I want to see Studsy Burke (D. Hammett).

Chiasmus (reversed parallelism) is a kind of parallelism where the word order of the sentence or clause that follows becomes inverted, e.g. He sat and watched me, I sat and watched him (D. Hammett).
The main stylistic function of chiasmus is to emphasize this or that part of the utterance, to break the rhythm and monotony of parallelism, e.g. Guild waited for me to say something, I waited for him (D. Hammett).
Anaphora is a repetition of words or phrases at the beginning of successive clauses or sentences, e.g. Еrgo, she didn't: Ergo, there never was such a bet. Ergo, Beresford was lying. Ergo, Beresford wanted to get hold of those chocolates for some reason other than he stated (A. Berkley).
Anaphora contributes greatly to creating a certain rhythm of the narrative.
Epiphora is the repetition of the final words or word-groups in succeeding sentences or clauses, e.g. I come to you on the level. Studsy says you are on the level. Be on the level (D. Hammett).

3.2. SD BASED ON THE TRANSPOSITION OF SYNTACTICAL MEANING
Rhetorical questions are negative or affirmative statements rather than questions, possible answers being implied by the question itself, e.g. Is the day of the supernatural over? (A. Christie).
Rhetorical questions can often be found in modern fiction in the descriptions of the character's inner state, his/her meditations and reflections, e.g. And then, like a douche of cold water, came the horrible thought, was she right? (A. Christie).

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