57. SD based on juxtaposition

53. Climax and antithesis belong to the 1^st group of syntactical SD. According to Galperin this group is called compositional patterns of syntactical arrangement.

Climax (gradation) - an ascending series of words or utterances in which intensity or significance increases step by step. Every racing car, every racer, every mechanic, every ice - cream van was also plastered with advertising.

Climax presents a structure in which every successive sentence or phrase is emotionally stronger or logically more important than the preceding one. Such an organization of the utterance creates a gradual intensification of its significance, both logical and emotive, and absorbs the reader’s attention more completely.

Climax may be of three main types:

1) quantitative, when it is quality or size that increases with the unfolding of the utterance.

2) qualitative, when intensification is achieved through the introduction of emphatic words into the utterance, which fact increases its emotive force.

3) logical, the most frequent type, in which every new concept is stronger, more important and valid.

A peculiar variety is presented in those cases when a negative structure undergoes intensification. As counterpart to climax stands Anticlimax, where emotion or logical importance is accumulated only to be unexpectedly broken and brought to a sudden cadence.

Silence fell upon Closter. Place, peace, oblivion. ”

54. suspense (обманутое ожидание ) is a compositional device which is realized through the separation of the Predicate from the Subject by deliberate introduction between them of a clause or a sentence. Thus the reader's interest is held up. This device is typical of oratoric style. To keep the reader in uncertainty and expectation. - I have been accused of bad taste. This has disturbed me, not so much for my own sake as for the sake of criticism in general.

55. To the second group of syntactical SD of peculiar linkage according to Galperin belong asyndeton, polysyndeton.

Asyndeton is a deliberate avoidance of conjunctions in constructions in which they would normally used. He couldn't go abroad alone, the sea upset his liver, he hated hotels.

The connection of sentences, phrases or words without any conjunctions is called asyndentic. Asyndeton helps the author to make each phrase or word sound independent and significant, creates an effect that the enumeration is not completed, creates a certain rhythmical arrangement, usually making the narrative measured and energetic. She watched them go; she said nothing; it was not to begin then.

Polysyndeton - is an identical repetition of conjunctions: used to emphasize simultaneousness of described actions, to disclose the author’s subjective attitude towards the characters, to create the rhythmical effect. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect.

Polysyndeton is the connection of sentences, phrases or words based on the repetition of conjunctions or prepositions. The repetition of the conjunction “and” before each word or phrase stresses these enumerated words or phrases.

Polysyndeton is sometimes used to retard the action and to create the stylistic effect of suspense and is one of the means used to create a certain rhythmical effect. He put on his coat and found his mug and plate and knife and went outside.

56. Rhetorical question is one that expects no answer. It is asked in order to make a statement rather than to get a reply. It frequently used in dramatic situation and in publicistic style. What was the good of discontented people who fitted in nowhere?

A question appealing to the reader for an answer, is emphatic and mobilizes the attention of the reader. The form of a rhetorical question is often negative. Rhetorical question preserves the intonation of a question.

Rhetorical question is an indispensable element of oratorical style. So it is widely employed in modern fiction for depicting the inner state of a personage, his meditations and reflections.

Through frequent usage some rhetorical questions became traditional (What business is it of yours? What have I to do with him? ) Can anybody answer for all the grievances of the poor in this wicked world?

57. SD based on juxtaposition

a)inversion (the violationof traditional wod order which doesn’t alter the m-g of the s-ce, but gives it an addit. /emotional colouring. I-n is used to single out some parts f the s-ce & heighten the emotional tension.

b)isolated members of a s-ce(detachment)( based on singling out a secondary member of the s-ce with the help of inton-n & punct-n. The word order isn’t violated, but second members obtain there own stress & inton-n as they are detached from the rest of the s-ce by: commas, dashes, full stops. I have to beg u for money. Daily. Detachment is used to give prominence to some words to help the author laconically draw the reader’s attention to a certain detail.

58. Represented speech is that form of utterance which conveys the actual words of the speaker through the mouth of the writer but retains the peculiarities of the speaker's mode of expression.

Represented speech exists in two varieties: 1) uttered represented speech and 2) unuttered or inner represented speech.

Uttered represented speech demands that the tense should be switched from present to past and that the personal pronouns should be changed from 1st and 2nd person to 3rd person as in indirect speech, but the syntactical structure of the utterance does not change. For example: " Could he bring a reference from where he now was? He could. " (Dreiser)

Nowadays, this device is used not only in the belles-lettres style. It is also efficiently used in newspaper style. Here is an example: " Mr. Silverman, his Parliamentary language scarcely concealing his bitter disappointment, accused the government of breaking its pledge and of violating constitutional proprieties.

The expressive function of language is suppressed by its communicative function, and the reader is presented with a complete language unit capable of carrying information. This device is called inner represented speech.

Inner represented speech, unlike uttered represented speech, expresses feelings and thoughts of the character which were not material

'she had no business', 'what on earth', 'like that' and colloquial constructions: 'yes and with... ' 'looking—looking as if... ', and the words used are common colloquial. Inner represented speech, unlike uttered represented speech, is usually introduced by verbs of mental perception, as think, meditate, feel, occur (an idea occurred to... ), wonder, ask, tell oneself, understand and the like. For example:

" Over and over he was asking himself: would she receive him? would she recognize him? what should he say to her? "