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Compositional Patterns of Syntactic Arrangement

Exercise 3.1. Say whether the repetition in bold type is anaphora, epiphora, framing, or link repetition and speak about the produced effect:

1. Free at last, he said to himself. Free at last. /John Grisham The Brethren/ 2. All she wanted was peace. All she wanted was to be left alone. All she wanted was to get through this case! /Dean Koontz The Vision/ 3. He thumbed in another silver dollar, and the Pit Boss watched, the slot machine repairman watched, the Slot Machine Floor Manager watched, three change girls watched, and a pack of unidentified players watched, some from their seats. /Harlan Ellison Pretty Maggie Moneyeyes/ 4. The money thawed the Strongs, thawed them to a warmness they had never shown to an outsider, thawed them to the point of melting. /John Grisham The Testament/ 5. Initially he did not know where he was going. Then he had a vague feeling that he should return home. Rapidly the feeling became a strong hunch, the hunch became a conviction, and the conviction became a compulsion. He absolutely had to get home. /Dean Koontz Cold Fire/ 6. The first thing he noticed about Stef was her gray lipstick, applied heavily to the thick and pouty lips, lips that scarcely cracked when she gave him the obligatory half-smile. /John Grisham The Testament/ 7. The walls were covered with posters from filmsfilms that told tales of perfect love, love that might bang its head against a few obstacles now and again, but love that was ultimately without any of the complications of the modern world. Tony Parsons Man and Boy/ 8. I began to back slowly toward the road, listening to the wind in the trees, listening to the stream, listening to the frog, suddenly afraid I might hear another sound, the sound of rubbing earth and tearing roots as something not quite dead reached up, groping for one of my sneakers. /Stephen King Riding the Bullet/ 9. There was nothing tangible to be gained from them, she told herself – nothing at all. /Judi James Supermodel/ 10. He was talltall enough to make her look up at him when they spoke. /Judi James Supermodel/

Exercise 3.2. State the type of repetition in the fragments bellow and speak about the produced effect:

1. I’m not really the kind of man who knows what cars are called, […] but its name didn’t really matter. I just loved the way it looked. And smelled. Above all, that smell. That anything-can-happen smell. What was it about that smell? /Tony Parsons Man and Boy/ 2. The night had turned into a dream, a dream that would start his whole life all over. /M.H. Clark Double Vision/ 3. There were too many lights on in the house. There were lights upstairs. There were lights downstairs. There were light blazing everywhere at a time when there should have been just one faint glow coming from the living room. /Tony Parsons Man and Boy/ 4. So we revered real people, real people who felt passionate about something, real people with no career to protect. /Tony Parsons Man and Boy/ 5. She looked beyond the frightened pensioners, the girls who looked like women, the women who looked like men, the men who looked like psychos. /Tony Parsons Man and Boy/ 6. The silence hummed between us. I didn’t know what to say to him. I didn’t know how to bridge the gap between our separate worlds. I didn’t know where to start. /Tony Parsons Man and Boy/ 7. And that sound frightened her more than anything else so far on this awful morning, the only human sound in the woods her weepy, shrieking voice calling her help, calling for help because she was lost. /Stephen King The girl Who Loved Tom Gordon/ 8. “Mr. Bateman, we drove out here as a courtesy, rescheduled several times as a courtesy, allowed your client’s father to be present as a courtesy, even though he’s reached the age of majority.” /Jonathan Kellerman The Clinic/ 9. When we are married, little one, he whispered, I will teach you it all. When we are married. /Judi James Supermodel/ 10. She was afraid of their father. Afraid he might find out and she would be the only one there to face him when he did. /Judi James Supermodel/

Exercise 3.3. Analyse the parallel constructionsandchiasmusin bold type and state their role in the fragments bellow:

1. The girl – thin, languid, blank – looked up at me as I came into the room. The boy – podgy, spotty, blanker – tapped the TV’s remote control against his lower teeth and didn’t take his eyes from a video of an angry man with no shirt on. /Tony Parsons Man and Boy/ 2. “Is it okay if Charlie comes back?” I looked down at Charlie. Charlie looked up at me. /Tony Parsons Man and Boy/ 3. She tried to explain: “Wonderful and terrifying, awesome and strange, scary and damned exciting all at once.” /Dean Koontz Cold Fire/ 4. The phone rang. It was a wife from a previous life, a woman he loathed and one who loathed him. /John Grisham The Brethren/ 5. I couldn’t see his eyes because of the sunglasses, but he could see mine. /John Grisham Street Lawyer/ 6. I come from the God of the Lost. It has been watching you. It has been waiting for you. It is your miracle, and you are its. /Stephen King The girl Who Loved Tom Gordon/ 7. She is the only woman to own it and the only woman to wear it. /Judi James Supermodel/ 8. She was pretty sure she couldn’t stifle one voice without stifling the other, something she had no intention of doing while she had much to say, even if she was the only one listening. /Richard Russo Nobody’s Fool/ 9. When a man says he has exhausted life one always knows life has exhausted him. /Oscar Wilde/ 10. He was talking faster and faster as the cop got closer and closer. /Stephen King Desperation/

Exercise 3.4. Point out the parallel constructions and chiasmus, and state their role in the fragments bellow:

1.He didn’t like Nicholas and Nicholas didn’t like him. /John GrishamRunaway Jury/2.Man is God’s secret, Power is man’s secret, Sex is woman’s secret. /James StephensThe Crock of Gold/3.“I don’t go looking for trouble,” said Harry nettled. “Trouble usually findsme.” /J. RowlingHarry Porter & The Prisoner of Azkaban/4.Duplicity and betrayal was your canon, to lie and abuse was your doctrine. /James HerbertOthers/5.Jane caught her breath and tried to prevent her hands from shaking, her heart from giving out, her liver from failing and her feet from beating a tattoo on the floor. /Wendy HoldenSimply Divine/6.I took a step back; my main tormentor took a step forward. /James HerbertOthers/7.With the stars lost above the low clouds, with darkness and fog partitioning the world into small spaces, Susan should have been able to stand at the window for hours. /Dean KoontzFalse Memory/8.Love is an irresistible desire to be irresistibly desired. /Robert Frost/ fromSimple Ways to Say I Love You/9.Mrs. Phelps looked down at Matilda from her great height and Matilda looked right back up at her. /Roald DahlMatilda/10.Harrods’ Telex address had long been “Everything in London.” In two hundred departments, the legendary store carried everything from specialty food to sporting goods, chewing gum to Chinese art, from rare books to rubber boots, faddish clothes to fine antiques, nail polish to expensive oriental rugs – a million and one delight. /Dean KoontzThe Key to Midnight/

Exercise 3.5. Analyse the cases of inversion in bold type and speak on the message they render:

1. He flipped another ball onto the fairway, hooked badly, and away we went. /John Grisham The Street Lawyer/ 2. “Put it on the table,” he said. On the table it went. /John Grisham The Street Lawyer/ 3. Jane waited for Tally to whoop with joy. But whoop came there none. /Wendy Holden Simply Divine/ 4. Tally was right about the For Sale sign. Subtle it was not. /Wendy Holden Simply Divine/ 5. You hired me to protect you, and protect you I shall. /Walt Disney cartoon Tarzan/ 6. There was something very comforting about the tears. With them came a feeling of release. /Judi James Supermodel/ 7. From closer by came the pad-click of paws ascending the stairs. They stopped outside the door. /Stephen King Desperation/

Exercise 3.6. Point out the cases of inversion and speak on the message they render:

1. Tom remained a delicious fantasy nonetheless. But fantasy, thought Jane, was as far as it was going to get. /Wendy Holden Simply Divine/ 2. The detectives didn’t understand her. She expected disbelief, and disbelief she received in squint-eye and open-mouthed abundance. /Dean Koontz False Memory/ 3. It was odd, Jane thought that a public, not to mention a press, that had already endured years of Caprice, Tamara, Tara, Normandie and Beverly could possibly have the stomach for yet another pouting party girl, but stomach it most certainly had. /Wendy Holden Simply Divine/ 4. “I tell him,” Brian said, ”but to me, he never listens.” /Dean Koontz False Memory/ 5. If they didn’t want woe, then woe there wouldn’t be. /James Herbert Others/ 6. I have clear proof that at least one of our jurors has been the victim of a break-in. He allowed this to sink in, and sink in it did. /John Grisham Runaway Jury/ 7. “Good of you to come, Miss Hawkes, or is it Miss Harris?” “It’s neither,” Miss Honey said, “but let it go.” And away she went. /Roald Dahl Matilda/

Exercise 3.7. State whether the figure of speech in bold type is detachment, insertion or segmentation, and speak on their purpose in the fragments:

1. Trisha had sat quietly on her side of the picnic table, looking out at his little yard (it needed mowing), giving him all the time he needed. /Stephen King The Girl Who Loved Tom Gordon/ 2. “Hermione – open you ears,” said Ron loudly. “They. Like. It. They like being enslaved.” /J.K. Rowling Harry Potter and the Goblet of Fire/ 3. “That’s hard to watch,” Starling said when she came back, shaky-legged and pale. /Thomas Harris Hannibal/ 4. Griphook whistled and a small cart came hurtling up the tracks toward them. They climbed in – Hagrid with some difficulty – and were off. /J.K. Rowling Harry Potter & the Sorcerer’s Stone/ 5. They were lying in perfect row, tucked closely together, hands folded over their matching gowns, cherubs sleeping, little street soldiers finally at peace. /John Grisham The Street Lawyer/ 6. She had been the first solicitor – and it was from this profession that most private investigations agencies got their work – to provide me with the opportunity of proving my worth […]. /James Herbert Others/ 7. She began walking to the house, leaving me to open the gate for myself. The Bouvier had ambled nearly to the back of the property but as I turned the latch, it wheeled back and raced toward me. “He’s okay, Lee,” she said to the dog. “Don’t eat him. Yet.” /James Herbert Others/ 8. He had his Cadillac, his bank account – some nine thousand dollars – a piddling checking account and a closet of clothes. /Stephen King The Shining/ 9. “Sit down, Miss Stansfield.” And when she only stood there, I added: “Please.” She sat. Reluctantly. /Stephen King The breathing method/ (from Different seasons by Stephen King) 10. Far down the lawn, past the putting green, were a number of vague, snow-cowled humps. The hedge animals. Between them and the playground. Between them and the road. /Stephen King The Shining/

Exercise 3.8. Point out detached constructionsin the fragment below, state their type and say what idea they convey:

  1. Oak Trees, their leaves flaming, lined the road. /Phyllis A. Whitney The Singing Stones/

  2. Light at the windows. A new day.

His eyes were sore.

His face felt worse than ever. Swollen. /Dean Koontz Cold Fire/

  1. “What are your plans for today, Dis? Ida enquired as she pulled on a light summer jacket and took an umbrella – it was raining outside – from the coat stand. /James Herbert Others/

  2. The man was becoming more agitated. And oddly (well, more oddly) he appeared to be talking as he beat. Wait, not talking: praying. Or maybe chanting. /James Herbert Creed/

  3. She sits on the floor with her face turned up and sobs a few dry sobs before the tears come. Scalding tears on her cheeks, down her face. /Thomas Harris Hannibal/

  4. She backed away from the wet, malignantly animated wall. Turned. Ran. Had to get out. Fast. The Enemy. It was coming. Had followed her. Out of the dream. The door. Locked. Deadbolt. Disengaged it. Hands shaking. The Enemy. Coming. Brass security chain. Rattled it free. Door. Jerked it open. /Dean Koontz Cold Fire/

  5. “Okay,” greeted Henry, who always seemed to beat me into the office, no matter how early I arrived, from his desk. /James Herbert Others/

  6. Things had never really changed. Not to Wendy. /Stephen King The Shining/

  7. I came to understand that there are things underneath, you see – underneath – and no book can explain what they are. /Stephen King Riding the Bullet/

  8. Claudette slapped Dusty, grabbed handfuls of his shirt, tried to push him back, And as she shook him, words shook from her, too, one at a time: “You. Won’t. Do. This. To. Me.” /Dean Koontz False Memory/

Exercise 3.9. Say whether the figure of speech in bold type is enumeration, gradation (climax) or anticlimax and try to reveal the author’s purport:

1. No. Dr. Ahriman could help her. Could, would, must. /Dean Koontz False Memory/ 2. “Oh, much worse. Infinitely worse. Perdurably worse.” /James Herbert Others/ 3. It was the nothing that drew him, the absence, the goneness in those eyes. /Stephen King It/ 4. They had been best friends since they were ten: eighteen years of sharing more than just mystery novels – hopes, fears, happiness, sorrow, laughter, tears, gossip, clothes, adolescent enthusiasms, hard-won adult insights. /Dean Koontz False Memory/ 5. Though she does seem devoted to Jilly – when she has time to think about her. /Phyllis A. Whitney The Singing Stones/ 6. In the darkness the booming noises grew louder, louder still, echoing, everywhere, all around. /Stephen King The Shining/ 7. At the start-of-term banquet, Harry had gotten the idea that Professor Snape disliked him. By the end of the first Portions lesson, he knew he’d been wrong. Snape didn’t dislike Harry – he hated him. /J.K. Rowling Harry Potter & the Sorcerer’s Stone/ 8. The first thing you ought to know about Joseph Creed is that he’s a sleaze of the First Order – maybe even of the Grand Order, considering his trade. The second is that he’s our hero. /James Herbert Creed/ 9. The sheets which she had hung out clean were now drooping from their pins in dispirited, soggy clots. They were not just spattered with mud; they were coated with it, plated with it. /Stephen King Needful Things/ 10. There was bloodblood everywhere… and her father didn’t see it. /Stephen King It/ 11. The good life here diverted you, dear Tom. Diverted, subverted, and thoroughly converted you. /Dean Koontz The Key to Midnight/

Exercise 3.10. Find cases of enumeration, gradation (climax) or anticlimax and try to reveal the author’s purport:

1. The words faded back and back, diminishing, washing out, growing distant… at last joining the low throbbing hum of the pumping machinery floating through the pipes.. /Stephen King It/ 2. The focal point of Dr. Cauvel’s office was a collection of hundreds of glass dogs that were displayed on the glass and chrome shelves to one side of his desk. There were basset hounds, greyhounds, Airedales, German shepherds, Pekingese, terriers, Saint Bernards, and a dozen and other breeds. /Dean Koontz The Vision/ 3. It was roaring forward, slamming into a black and dripping tunnel lined with decaying, crumbling tiles that were fifty years old, a hundred, a thousand, a million-billion, who knew. /Stephen King It/ 4. …and of course neither of them took any notice; they just headed up the branch which led to North Conway, walking side by side like lovers and looking into each other’s faces like lovers and arguing like bitter enemies. /Stephen King The Girl Who Loved Tom Gordon/ 5. Marty grew up eating dinner with the TV on. Television had been his babysitter, his best friend, his teacher. /Tony Parsons Man and Boy/ 6. Within three months of his being home, his mother died miserably of a slow-failing heart, his father was long gone (but with a secretary, not an ailment). /James Herbert Creed/ 7. He was an amazing tour guide. Every inch was his turf, every corner had a story, every street had a history. /John Grisham The Street Lawyer/ 8. She was granite. She was iron. She was steel. She could not be broken. /Dean Koontz Lightning/ 9. Valdir preferred to stay behind, close to a phone. He did not enjoy flying, especially in a helicopter, especially over the Pantanal jungles. /John Grisham The Testament/ 10. Now most head teachers are chosen because they possess a number of fine qualities. They understand children and they have the children’s best interests at heart. They are sympathetic. They are fair and they are deeply interested in education. Miss Trunchbull possessed none of these qualities and how she ever got her present job was a mystery. /Roald Dahl Matilda/ 11. His nametag identified him as Wally Clark. Pudgy, dimpled, well scrubbed, smelling faintly of a spice-scented aftershave, with the kind blue eyes of a sincere pastor, Wally was every Hollywood director’s ideal choice for the star’s favourite uncle, mentor, dedicated teacher, beloved father, or guardian angel./Dean Koontz False Memory/

Exercise 3.11. State the role of the cases of antithesis in bold type:

1. Many people in love can be sure of being admired when they are not admirable and praised when they are not praiseworthy. /Bertrand Russell/ 2. Even as he anger built, she knew it was a luxury, that it had no effect or meaning; for the only weapon anyone had against fate was resignation. /Dean Koontz The Vision/ 3. It’s a funny thing about mothers and fathers. Even when heir own child is the most disgusting little blister you could even imagine, they still think that he or she is wonderful. /Roald Dahl Matilda/ 4. Before he finished with her, he would hurt her badly, degrade and humiliate her, demand things that would disgust her and leave her feeling totally worthless, because that would make him feel godlike. /Dean Koontz The Key to Midnight/ 5. Unfortunately, as was often the case in the world of covert operations, the grandest of plans could be undone by the smallest of snags yesterday, the entire illusion had been shattered by a few bioluminescents plankton. /Dan Brown Deception Point/

Exercise 3.12. Find the cases of antithesis and dwell upon their role in the fragments below:

1. The Farmhouse was rusty and pleasant, the light spilling from the last window was cozy, and all looked well… but the boards and the glass, the stones in the driveway, the very air, pressing against his face… all these things screamed at him to leave. /Stephen King The Tommyknockers/ 2. I was smart enough to know what I had. But too dumb to know how to keep it. /Tony Parsons Man and Boy/ 3. The books transported her into new worlds and introduced her amazing people who lived exciting lives. She travelled all over the world while sitting in her little room in an English village. /Roald Dahl Matilda/ 4. You don’t love a woman for what she says, but love what she says because you love her /Andre Mourois/ 5. From the most feckless uncle to the most social aunt, from bread-line-treading aunt to rich uncles, all were afflicted by this rowdy insouciance. /Hal Porter First Love/

Exercise 3.13. Analyse the fragments below and explain how the effect of suspense is achieved in them:

  1. Stored on the shelf, among other stuff, was an item that she had forgotten. A video camera. /Dean Koontz False Memory/

  2. Behind the house and barn, visible between them, was the pond, and the structure at its far side was the most arresting sight on the farm. The windmill. /Dean Koontz Cold Fire/

  3. And at the centre of all this, surrounded by beautiful things that would soon be destroyed by avaricious flames, was a sturdy though intricately-carved chair, a throne of oak, on which sat the slumped form of Nicholas Mallik. /James Herbert Creed/

  4. If you wanted to follow Big Foot’s trail, see the actual sites of the most famous alien abductions in the continental United State, stay in a series of haunted houses, or track Elvis in his peripatetic wanderings across this great country since his supposed death, Strange Phenomena Tours was the only travel agency with the packages that would satisfy your curiosity. /Dean Koontz False Memory/

  5. “It’s the ding-dong man,” Peggy said. […] “The ding-dong man is coming,” she said to no one in particular, lifting her head with a secret smile.

At first I didn’t have a clue what she was going on about. Then I heard what her new five-year-old ears had picked up a lot earlier than my decrepit old lugholes – a chiming of distant bells that seemed to echo around the neighbourhood.

They didn’t have the dull insistence of church bells There was something tender and cheap and unexpected about them – they were an invitation rather than a command.

Naturally I remembered those bells from my own childhood, but for some reason I was always surprised that they still existed. He was still out there, still doing the rounds, still asking the children to put down their games and come into the street and stuff their happy little faces with sugar and milk. It was the ice-cream man.

‘The ding-dong man,” Peggy said. /Tony Parsons Man and Boy/

  1. The father was just moving round to sit at the head of the table when the mother came sweeping out from the kitchen carrying a huge plate piled high with eggs and sausages and bacon and tomatoes. She looked up. She caught sight of her husband. She stopped dead. Then she let out a scream that seemed to lift her right up into the air and she dropped the plate with a crash and a splash on to the floor. Everyone jumped, including the father.

“What the heck’s the matter with you, woman?” he shouted.

“Your hair!” the mother was shrieking, pointing a quivering finger at her husband. “Look at your hair! What’ve you done to your hair?” /Roald Dahl Matilda/