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Chiasmus (Reversed Parallel Construction)
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| Chiasmus (Reversed Parallel Construction). Chiasmus belongs to the group of
stylistic devices based on the repetition of a syntactical pattern, but it has a cross order of words and phrases. The structure of two successive sentences or parts of a sentence may be described as reversed parallel construction, the word order of one of the sentences being inverted as compared to that of the other as in: “As high as we mounted in delight In our dejection do we sink as low” (Wordsworth) “Down dropped the breeze, The sails dropped down.” (Coleridge) Chiasmus is sometimes achieved by a sudden change from active voice to passive or vice versa, for example: “The register of this burial was signed by the clergyman, the clerk, the undertaker and the chief mourner. Scrooge signed it.” (Dickens) This device is effective in that it helps to lay stress on the second part of the utterance, which is opposite in structure, as in our dejection; Scrooge signed it. This is due to the sudden change in the structure which by its very unexpectedness linguistically requires a slight pause before it. As is seen from the example above, chiasmus can appear only when there are two successive sentences or coordinate parts of a sentence. So distribution, here close succession, is the factor which predetermines the birth of the device. Repetition.It has already been pointed out thatrepetitionis an expressive means of language used when the speaker is under the stress of strong emotion. It shows the state of mind of the speaker, as in the following passage from Galsworthy: “Stop!” – she cried, “Don’t tell me! I don’t want to hear; I don’t want to hearwhat you’ve come for. I don’t want to hear.” 53 The repetition of I don’t want to hear is not a stylistic device; it is a means by which the excited state of mind of the speaker is shown. This state of mind always manifests itself through intonation, which is suggested here be the words, she cries. In the written language before direct speech is introduced one can always find words indicating the intonation as sobbed, shrieked, passionately, etc. J.Vandryes writes: “Repetition is also one of the devices having its origin in the emotive language. Repetition when applied to the logical language becomes simply an instrument of grammar. Its origin is to be seen in the excitement accompanying the expression of a feeling being brought to its highest tension.” When used as a stylistic device, repetition acquires quite different functions. It does not aim at making a direct emotional impact. On the contrary, the stylistic device of repetition aims at logical emphasis an emphasis necessary to fix the attention of the reader on the key-word of the utterance. For example: “For that was it! Ignorant of the long and stealthy march of passion, and of the state to which it had reduced Fleur; ignorant of how Soames had watched her, ignorant of Fleur’s reckless desperation… – ignorant of all this, everybody felt aggrieved.” (Galsworthy) Repetition is classified according to compositional design. If the repeated word (or phrase) comes at the beginning of two or more consecutive sentences, clauses or phrases, we have anaphora, as in the example above. If the repeated unit is placed at the end of consecutive sentences, clauses or phrases we have the type of repetition called epiphora, as in: “I am exactly the man to be placed in a superior position in such a case as that. I am above the rest of mankind, in such a case as that. I can act with philosophy in such a case as that.” (Dickens) жүктеу/скачать 0.64 Mb. Достарыңызбен бөлісу:
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