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disclosed by scrupulous analysis of the morphological aspect and meaning of the
component parts, ect. It has already been stated elsewhere that
the logical aspect of an
utterance will always be backed up by purely linguistics means causing, as it were, an
indivisible unity of extra-linguistic and intra-linguistic approach.
Bearing this mind, we shall not draw a mark of demarcation between the logical and
the linguistic analysis of an utterance, because the paragraph is a linguistic expression of a
logical arrangement of thought.
Stylistic inversion aims at attaching logical stress or additional emotional colouring
to the surface meaning of the utterance. Therefore a specific
intonation pattern is the
inevitable satellite of inversion.
Stylistic inversion in Modern English should not be regarded as a violation of the
norms of standard English. It is only the practical realization of what is potential in the
language itself.
The following patterns of stylistic inversion are most frequently met in both English
prose and English poetry.
1. The object is placed at the beginning of the sentence (see the example above).
2. The attribute is placed after the word it modifies (postposition of the attribute). This
model is often used when there is more that one attribute, for example:
“With finger
weary and worn…” (Thomas Hood)
“Once upon a midnight
dreary…” (E.A.Poe)
3. a) The predicative is placed before the subject as in
“
A good generous prayer it was.” (Mark Twain)
or b) the predicative stands before the link verb and both are placed before the subject as
in
“
Rude am I in my speech…” (Shakespeare)
4. The adverbial modifier is placed at the beginning of the sentence, as in
“
Eagerly I wished the morrow.” (Poe)
“My dearest daughter,
a your feet I fall” (Dryden)
“
A tone of most extraordinary comparison Miss Tox said it in”
(Dickens)
5. Both modifier and predicate stand before the subject, as in
“
In went Mr. Pickwick.” (Dickens)
“
Down dropped the breeze…” (Coleridge)
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