SYNTACTICAL DEVICES BASED ON PECULIAR ARRANGEMENT.

Stylistic inversion differs from grammatical inversion. Stylistic inversion does not change the grammatical essence of the sentence.
it consists in an unusual displacement of words in order to make one of them more conspicuous, more important, more emphatic, to make a logical stress on it or to add some expressive and emotive colour.Inversion may be complete – when the predicate is displaced, partial – with the displacement of secondary members of the sentence.There are 5 most frequent structural types of inversion:the object is placed in pre-position,the attribute is placed after the word it modifies,the adverbial modifier is placed at the beginning,both the modifier and predicate stand before the subject.

Detachment is an attribution of greater significance to а secondary member of the sentence, usu. an attribute or an adverbial modifier, due to which it is formally separated from the word it syntactically depends on.Due to the special stress laid on it, the detached word (phrase) often appears to be opposed to what precedes or follows it.

Hence, the stylistic effect of detachment is strengthening, emphasizing the word (phrase) in question.detachment produces a stronger effect and sounds more independent. In oral speech a detached unit is marked by prominent intonation which in writing is indicated by the use of such punctuation marks as commas, full stops or dashes.

A variant of detachment is parenthesis. It is an explanatory or qualifying remark put into a sentence.

Parallelism is a repetition of identical or similar syntactical patterns in two or more successive units.In case of absolute identity in the repeated patterns, we speak about complete parallelism or balance. If the identity is partial, parallelism becomes partial or incomplete. Parallel constructions are often backed up by repetition of words (lexical repetition) and conjunctions and prepositions (polysyndeton).

Parallelism performs different functions.

It contributes to rhythmic and melodic unification of adjacent sentences. It also either helps to emphasize the repeated element, or to create a contrast, or else underlines the semantic connection and equality between sentences.In the belles-lettres style parallel constructions carry an emotive function.

Chiasmus is sometimes characterized as 'parallelism reversed': it is also based on the repetition of syntactical patterns, but it has a reversed or inverted order in one of the two utterances. E.g. He came in and out went she.

The segments that change places enter opposite or contrastive logical relations, which fact produces various stylistic effects.

Like parallel constructions, chiasmus contributes to the rhythmical quality of the utterance, and the pause caused by the change in the syntactical pattern may be likened to a caesura in prosody.

Antithesis denotes any active confrontation, emphasized co-occurrence of notions, really or presumably opposed by means of dictionary or contextual antonyms.

The purpose of using this device is to demonstrate the contradictory nature of the referent, to compare things through a contrast and to attribute rhythm to the utterance.

This device is often signalled by the introductory connectives but or and.

In case of developed antithesis we deal with semantically opposed statements or pictures.

E.g. In his universe, the gods had been banished but not the devils. (Priestley) (dictionary antonyms)

They merely came to earn their money, more or less. Mr. Smeeth came to work. (Priestley) (contextual antonyms)

This device is often signalled by the introductory connectives but or and.

E.g. As lovers, the difference between men and women is that women can love all day long, but men only at times. (Maugham)

I.R. Galperin believes that antithesis is generally moulded in parallel constructions. This gives him a ground for classifying it as a syntactical means.

Y.M. Skrebnev lays stress on the lexical explication of contrast and thus believes it is a lexical means.

E.g. Strickland was an odious man, but I still think he was a great one. (Maugham)

In case of developed antithesis we deal with semantically opposed statements or pictures.

Antithesis differs from contrast as a literary technique. Contrast is a literary (not linguistic) device based on logical opposition between different phenomena.

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