1.

Stylistic inversion
the syntactic reversal of the normal order of the words and phrases in a sentence:
 The object is placed at the beginning of the sentence . e.g. “ Talent Mr. Micawber has
; capital Mr. Micawber has not .
 The attribute is placed after the word it modifies ( postposition of the attribute) . this
model is often used when there is more than one attribute . e.g. ,,with fingers weary
and worn “ . adj.+ noun = tall and beautiful girl
 A)The predicative is placed before the subject . e.g. ,,A good generous prayer it was” .
B) predicative stands before the link-verb and both are placed before the subject . e.g.
,,Rude am I in my speech … “
 The adverbial modifier is placed at the beginning of the sentence. E.g. “ Eagerly I
wished the morrow “ , ,,A tone of most extraordinary comparison miss Tox said in it “
 Both modifier and predicate stand before the subject . e.g. ,,in went Mr. Pickwick” ,
“Down drop the breeze … “
[Link] construction (განცალკევებული კონსტრუქცია )
Sometimes one of the secondary parts of the sentence by some specific consideration of
the writer is placed so that it seems formally independent of the word it logically refers
to. Such parts of structures are called detached. They seem to dangle in the sentence as
isolated parts. The detached part, being torn away from its referent, assumes a greater
degree of significance and is given prominence by intonation".
The structural patterns of detached constructions have not yet been classified, but the
most noticeable cases are those in which an attribute or an adverbial modifier is placed
not in immediate proximity to its referent, but in some other position, as in the following
examples:
1. "Steyne rose up, grinding his teeth, pale, and with fury in his eyes."
2. "Sir Pitt came in first, very much flushed, and rather unsteady in his gait"
3. ,, I want to go , he said , miserable “
Parenthesis ( ჩართული )

[Link] construction ( პარალელური კონსტურქცია )

The necessary condition in parallel construction is identical , or similar , syntactical
structure in two or more sentences or parts of the sentence in close succession . e.g. “ there
were …. real silver spoons to stir the tea with , and real china cups to drink it out of , and
plates of the same to hold the cakes and toast in .
E.g. “The seeds ye sow – another reaps
The robes ye weave – another wears;
The arms ye forge – another bears” (P.B. Shelley).
e.g. “And so, from hour to hour, we ripe and ripe,
And then, from hour to hour, we rot and rot.” (Shakespeare).
[Link] / reversed parallel construction ( ქაიაზმი / ინვერსიული პარალელიზმი )
The structure of the two successive sentences or part of a sentence may be described as
reversed parallel construction , the word order of one of the sentence being inverted as
comparison with that of the other .
e.g. “As high as we have mounted in delight
In our dejection do we sink as low”. (Wordsworth)
e.g. Down dropped the breeze,
The sails dropped down.” (Coleridge)

Byron:
“In the days of old men made the manners;
Manners now make men”.(lexical chiasmus or chiasmatic repetition)
“His jokes were sermons, and his sermons jokes .”
“This strange but true; for truth is always strange.”
[Link] ( სტილისტური გამეორება )
Repetition is an expressive means of language used when the speaker is under the stress of
strong emotion. E.g. “Stop! – she cried, “Don’t tell me! I don’t want to hear; I don’t want to
hear what you’ve come for. I don’t want to hear.” (Galsworthy)

Repetition is classified according to compositional patterns:

 1. If the repeated word/phrase comes at the beginning of two or more consecutive
sentences, clauses or phrases, we have anaphora.
2. If the repeated unit is placed at the end of two or more consecutive sentences, clauses
or phrases, we have the type of repetition called epiphora.
e.g.“I’m exactly the man to be placed in a superior position in such a case as that. I’m above
the rest of the mankind, in such a case as that. I can act with philosophy in such a case as that”
(Dickens).- background function

e.g. “Poor doll’s dressmaker! How often so dragged down by hands that should have raised
her up; how often so misdirected when losing her way on the eternal road and asking
guidance. Poor doll’s dressmaker” (Dickens). This compositional pattern of repetition is
called framing.
Among compositional models of repetition is linking or reduplication (also known as
anadiplosis). The structure of this device is the following: the last word or phrase of one part
of an utterance is repeated at the beginning of the next part, thus hooking the two parts
together. Sometimes a writer may use the linking device several times in one utterance. E.g.
“A smile would come into Mr. Pickwick’s face: the smile extended into a laugh: the laugh
into a roar, and the roar became general.” (Dickens) This compositional patterns of
repetition is also called chain-repetition.
Another variety of repetition may be called synonymic repetition – repetition of the same
idea by using synonymous words and phrases which by adding a slightly different nuance of
meaning and intensify the impact of the utterance. E.g. “The poetry of earth is never dead…
The poetry of earth is ceasing never…” (Keats)

There are two terms frequently used to show the negative attitude of the critic to all kinds
of repetition. These are pleonasm – the use of more words in a sentence than are necessary
to express the meaning; redundancy of expression, tautology – the repetition of the same
statement; the repetition of the same word or phrase or the same idea or statement in other
words
[Link] ( ჩამოთვლა )
[Link] ( დაძაბულობა , დაძაბული მოლოდინი )
the aim of suspense is to keep a reader in constant interest, feelings of tension and anxiety, in
the state of uncertainty and expectation and somehow prepare the reader for the logical
conclusion of the utterance. It can also be said that this stylistic device causes psychological
effect. e.g. “Mankind, says a Chinese manuscript, which – my friend M. was obliging enough
to read and explain to me, for the first seventy thousand ages ate meat raw.“ (Charles Lamb).
[Link] (გრადაცია)
Gradation is an arrangement of sentences (or of the homogeneous parts of one sentence)
which secures a gradual increase in significance, importance, or emotional tension of the
utterance. Gradual increase in significance may be maintained in three ways: logical,
emotional and quantitative.
 Logical gradation is based on the relative importance of the component parts, looked
at from the point of view of the concepts embodied in them. This relative increase
may be evaluated both objectively and subjectively, the author’s attitude towards the
objects or phenomena in question being disclosed. E.g. “Nobody ever stopped him in
the street to say, with gladsome looks, 'My dear Scrooge, how are you? When will you
come to see me?' No beggars ignored him to bestow a trifle, no children asked him
what it was o'clock, no man or woman ever once in all his life inquired the way to
such and such a place, of Scrooge.”
 Emotional gradation is based on relative emotional tension produced by words with
emotive meaning. E.g. “It was a lovely city, a beautiful city, a fair city, a veritable gem
of a city”. Emotional climax is mainly found in sentences, more rarely in longer
syntactical units.

 Quantitative gradation is an evident increase in the volume of the corresponding

concepts. E.g. “They looked at hundreds of houses; they climbed thousands of stairs;
they inspected innumerable kitchens” (Maugham).
9. Antithesis ( ანტითეზა)

Stylistic opposition, which is given a special name, the term – Antithesis – is based on relative
opposition which arises out of the context through the expansion of objectively contrasting
pairs.

E.g. “Youth is lovely, age is lonely,

Youth is fiery, age is frosty;” (Henry Longfellow)
Antithesis is generally moulded in parallel construction. This is particularly advantageous
when the antagonistic features are not inherent in the objects in question but imposed on
them.

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age
of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of
Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair,
we had everything before us, we had nothing before us, we were all going direct to Heaven,
we are all going direct the other way...” (Dickens)

[Link]- ასინდენტონი ( უკავშირობა )

Asyndeton, that is, connection between parts of a sentence or between sentences without
any formal sign, becomes a stylistic device if there is a deliberate omission of the connective
where it is generally expected to be according to the norms of the literary language.

E.g. “Soames turned away; he had an utter disinclination for talk like one standing before an
open grave, watching a coffin slowly lowered.” (Galsworthy)

The deliberate omission of the subordinate conjunction because or for makes the sentence
'he had an utter...' almost entirely independent.

E.g. “Bicket did not answer his throat felt too dry.” (Galsworthy) In this sentence, the
absence of the conjunction and a punctuation mark may be regarded as a deliberate
introduction of the norms of colloquial speech into the literary language.

11. polysyndeton - პოლისინდენტონი ( მრავალკავშრიანობა )

Polysyndeton is the stylistic device of connecting sentences, or phrases, or syntagms, or

words by using connectives (mostly conjunc¬tions and prepositions) before each component
part, as in:

“The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in
only one respect.” (Dickens)

E.g. “Whence these legends and traditions,

With the odours of the forest,

With the dew, and damp of meadows,

With the curling smoke of wigwams,

With the rushing of great rivers,

With their frequent repetitions,...” (Longfellow “Song of Hiawatha”)

“Then Mr. Boffin... sat staring at a little bookcase of Law Practice and Law Reports, and at a
window, and at an empty blue bag, and a stick of sealing-wax, and at a pen, and a box of
wafers, and an apple, and a writing-pad — all very dusty — and at a number of inky smears
and blots, and at an imperfectly disguised gun-case pretending to be something legal, and at
an iron box labelled “Harmon Estate”, until Mr. Lightwood ap-peared.” (Dickens)

[Link]-sentence Link

There is a peculiar type of connection of sentences which for want of a term we shall call
the gap-sentence link (GSL). The connection is not immediately apparent and it requires a
certain mental effort to grasp the interrelation between the parts of the utterance, in other
words, to bridge the semantic gap.

E.g. “She and that fellow ought to be the sufferers, and they were in Italy” (Galsworthy)

In this sentence the second part, which is hooked on to the first by the conjunction and
seems to be unmotivated or, in other words, the whole sentence seems to be logically
incoherent. But this is only the first impression. After a more careful semantic analysis it
becomes clear that the exact logical variant of the utterance would be: 'Those who ought to
suffer were enjoying themselves in Italy (where well-to-do English people go for
holydays).'`

The gap-sentence link is generally indicated by, and , or but. There is no asyndetic GSL.

13. Ellipsis ( ელიფსი )

An ellipsis in narrative leaves out a portion of the story. This can be used to condense time,
or as a stylistic method to allow the reader to fill in the missing portions of the narrative
with their imagination.
14. Break - in – the – Narrative (Aposiopesis) ( თხრობის შეწყვეტა / აპოზიოპეზისი )
Aposiopesis is defined as a figure of speech in which the writer stops a line of text in the
middle of a sentence. This sentence is left incomplete, breaking off into silence. A writer
does this intentionally in order to create some kind of effect on the writing and the reader.
E.g. “If you continue your intemperate way of living, in six months' time ...” (warning)
"You just come home or I'll ..." (threat)
15. Question-in-the-Narrative (შეკითხვა თხრობაში)
Question- in- the- narrative changes the real nature of a question and turns it into a stylistic
device. A question in the narrative is asked and answered by one and the same person, usually
the author. Sometimes question-in-the-narrative gives the impression of an inti¬mate talk
between the writer and the reader. For example: “Scrooge knew he was dead? Of course he
did. How could it be, otherwise? Scrooge and he were partners for I don't know how many
years.” (Dickens)
[Link] Question (რიტორიკული შეკითხვა )
The rhetorical question is a special syntactical stylistic device the essence of which consists
in reshaping the grammatical meaning of the interrogative sentence. In other words, the
question is no longer a question but a statement expressed in the form of an interroga¬tive
sentence. Thus there is an interplay of two structural meanings: 1) that of the question and
2) that of the statement (either affirmative or negative). Both are materialized
simultaneously. For example:
“Are these the remedies for a starving and desperate populace?”
“Is there not blood enough upon your penal code, that more must be proud forth to ascend
to Heaven and testify against you?” (Byron)
There is another structural pattern of rhetorical questions, which is based on negation. In
this case the question may be a simple sentence, as in:
“Did not the Italian Mosico Cazzani
Sing at my heart six months at least in vain?”
17. Litotes['laɪtəʊˌtiːz]
(ლიტოტესი (ბერძ. λιτότης) — არის ჰიპერბოლის საპირისპირო მხატვრული ხერხი,
ტროპის მარტივი სახე. ლიტოტესი ნიშნავს დამცირებას/დაკნინებას და
წარმომდგარია ბერძნული სიტყვისაგან „მცირე“. (უარყოფის უარყოფა)
e.g.
1. It's not a bad thing — It's a good thing.
2. He is no coward. — He is a brave man.
e.g.
“He was not without taste...”
“It troubled him not a little..”
“He found that this was no easy task”
Negation