SEMINAR 2

STYLISTIC SYNTAX OF THE ENGLISH LANGUAGE

Discussion Points
1. Expressive means of English syntax based on:
the reduction of the sentence structure: ellipsis, aposiopesis, nominative sentences,
asyndeton;
Ellipsis is the omission of one or both of the main members of a sentence, the meaning of
which is easily reconstructed in context. The structure of elliptical sentences, as well as the
purposes of their use, are very diverse. There are three main areas of use of elliptical sentences:
a) primarily dialogical speech; b) scientific and official-business speech; c) artistic speech,
primarily the author's narration.
A characteristic feature of elliptical structures in all cases of their use is the compactness
of the structure, which manifests itself in an increase in the semantic and stylistic load on each
explicitly expressed element. In full sentences, each element carries a certain amount of
information. In elliptical constructions, the omission of one or more elements leads to the
redistribution of information to those elements that have been preserved.
In the process of oral communication, which is characterized by a high rate of speech,
brevity, spontaneity, speakers widely use elliptical structures, which is due to the tendency
towards the economy of linguistic means and pronunciation efforts. The restoration of the
meaning of the omitted members of the sentence is determined by the speech and situational
context and the use of paralinguistic means.
In scientific prose, textbooks, reference books, dictionaries, in some types of official
business documentation, elliptical constructions are used for laconic statements, logical
emphasis.
In other words, in colloquial speech and in some varieties of scientific and official business
prose, elliptical constructions do not have stylistic meaning, they are a kind of norm for these
spheres of speech.
Elliptical constructions acquire expressive meaning mainly in fiction.
Elliptical constructions are used by the author as a means of realistic reproduction of a
lively, casual conversation of speakers, which characterizes the emotional state of the heroes
 In the author's narration in the first person and in the transmission of improperly direct
speech, the ellipsis performs the function of stylization for spoken speech, imitating models of
spoken syntax: I mean the other guys and myself. In somebody else’s room (J. Salinger)
Ellipsis can also be used as a means of dynamic description.
Aposiopesis- a sudden break in the utterance caused by an influx of feelings, indecision or
unwillingness to continue the conversation (utterance).
Aposiopesis is found mainly in oral colloquial speech, when the speaker interrupts the
statement due to an influx of feelings or hesitation. Such a break in the utterance can only be
caused by the emotional state of the speaker and not pursue any pragmatic goal. However,
sometimes silence is a hidden allusion that expresses a threat, a promise, and in this case it is
stylistically significant.
In a literary text, the author, conveying the natural character of the conversation, suddenly
interrupts it: “I do apologize, Madam, I feel so [...] I would not have troubled [...]” (S. Hill).
In fictional narration, aposiopesis is most often used when transmitting improperly direct
speech of characters, expressing their worries, doubts, indecision, etc.! Something like despair
ravaged the heart of his watching Fleur. If she left him for Winfridl But surely - no - her father,
her house, her dog, her friends, her - her collection of - of - she would not - could not give them
upl (J. Galsworthy).
Aposiopesis, in a broader sense, as an artistic technique is used not only in fiction, but also
in music, painting, cinema, when the author does not bring his work to its logical conclusion,
giving the reader, viewer, and listener an opportunity to come to those conclusions himself,
which are due to the entire semantic structure of the work.
Nominative sentence are single-core sentences, the basis of which is a single nuclear
component, expressed by a noun. Despite the laconicism, the structure of nominative sentences
is characterized by significant diversity: they can include components associated with the core
as a subordinate and coordinative relationship, and appositive relations.
Consider the main types of nominative sentences:
1) one-component: Early evening. April (J. Osborne);
2) one-component, extended by the inclusion of modifying elements: An aching business!
(J. Galsworthy);
 3) one-component with an appositive connection: "Mr George Sampson, a friend of the
family" (Ch. Dickens).
4) multicomponent with coordinate (as well as subordinate) connection of components:
The gloomy dockside, and the gray river; the bustle with baggage, and the crowed tender (J.
Galsworthy).
Filling the model of nominative sentences with elements in accordance with the considered
types of communication expands their stylistic possibilities. Such sentences, spread by words
with emotional connotations, have a certain expressiveness: The day would be a weary thing
and long. High roads, and telegraph-poles, and the monotony of passing traffic, the slow crawl
into London (D. du Maurier).
Nominative sentences can be exclamatory. Their emotional, evaluative value is enhanced
if the nominative component is preceded by an article, an adverb very, or a demonstrative
pronoun: The very idea of it! The irony of it! That woman !, said Soames (J. Galsworthy).
The stylistic functions of nominative sentences are determined by their type, method of use
and context.
In the author's narration and in stage directions, they are often used in the exposition when
describing the place and time of action.
The widespread nominative sentences located directly one after the other have great
expressive power: An evening by Randipole Billy. Green lily sky, orange flames over the West.
Long flat clouds like copper angles with brass hair floating on the curls of the fire (J. Cary).
Coordinated nominative sentences serve as a means of dynamic description! The day
passed on. Noon, afternoon, evening. Sunset. (J. Galsworthy).
An effective stylistic device is the use of exclamatory nominative sentences in the
dialogical and improperly direct speech of the characters.
Unionless connection, or asyndeton (English asynde- UNIONLESS communication, -
connection of elements of a sentence without or from official words. The unionless connection
between parts of a sentence or compound sentences is based on the semantic content of the
juxtaposed parts of the utterance, combined in the composition of the sentence and forming a
semantic and intonational unity. In oral speech, this connection is expressed by rhythmic-
melodic means, in writing - by punctuation marks. Asindeon enhances the expressiveness of the
phrase and is therefore widely used in poetry: Fathers mothers, uncles, cousins, Brothers,
sisters, husbands, wives Cocking tails and pricking whiskers, Families by tens and dozens,
followed the Piper for their lives - The omission of the union in front of each of the
homogeneous members of the sentence gives a certain semantic and emotional connotation to
the entire utterance.
Asyndeton in colloquial speech enhance its expressiveness, giving the expression a
character of haste, often incompleteness: “Who makes fame? Critics, writers, stockbrokers,
women "(S. Maugham); Beatie: Watcha got this year? Jimmy: Had spuds, carrots, cabbages,
you know. Beetroots, lettuces, onions, and peas (J. Osborne). The lack of unions in spuds,
carrots, cabbages ... indicates that the enumeration is incomplete. This is confirmed by the
following statement, which continues the listing: Beetroot, lettuces, onions, and peas.
Asyndeton is widely used in different types of sentences: compound with a connecting,
explanatory, opposing connection and cause-and-effect relationships. With a non-union
combination of composed sentences, the similarity of their structure, the ratio of the temporal
forms of the predicate verb, the repetition of individual components of the sentence acquire
more importance: The train had stopped during the forenoon and three times we had heard
planes coming, seen them pass overhead, watched them go far to the left and heard them
bombing on the main highroad (E. Hemingway).
A certain expressiveness is achieved by a combination of two expressive means - non-
union communication and multi-union communication.
The multi-union creates a slow rhythm, against the background of which the dynamism of
asyndeton in combination with multiple repetitions is perceived with particular contrast.
So, the reduction of the original sentence model creates stylistically marked sentence
models. Not only the components of the model can be subject to reduction, but also the means
of communication between them.
the redundancy of sentence structure: repetition, enumeration, tautology,
polysyndeton, emphatic constructions, parenthetical clauses;
It is necessary to distinguish between two types of expansion of syntactic models:
expansion and complication. The expansion of the proposal model occurs due to the repetition
of its components or the enumeration of homogeneous members of the proposal, the
complication is associated with the inclusion of additional elements in its structure. The
extension includes various types of repetitions, enumeration, syntactic tautology, polysindeton.
Conditional syntactic structures include the emphatic construction it is (was he who) that,
constructions with intensifier verbs and inserted sentences.
Repetition - the repetition of which sentence, phrase, located in the immediate vicinity.
There are several types of repetitions that differ from each other in the nature of the structural
organization:
a) a simple contact repetition, which can be expressed by union (or prepositional)
binomial combinations, which are variable-stable units of "syntactic phraseology" such
as hours and hours, miles and miles, millions and millions: The city had laid miles and
miles of streets and sewers through the region (R. Aldington); She could see roof upon
roof upon third storey upon third storey of the houses on the rising hill (O'Hara).
Three-term repetition emphasizes the emotional and semantic tonality of the statement.
b) extended repetition - repetition of a speech unit with additional components that clarify
or expand its meaning: I don’t think Art heard. Pain, even slight pain, tends to isolate.
Pain, such as he had to suffer, cuts the last links with society (S. Chaplin);
c) framing or circular repetition - the repetition of a speech unit at the beginning and at the
end of the utterance: Nothing ever happened in that little town, left behind by the
advance of civilization, nothing (S. Maugham). A special type of framing characteristic
of common parlance is the repetition of the subject, expressed by a personal pronoun,
and the predicate or part of it at the end of the sentence
d) repetition-catch - repetition of the final element of one utterance at the beginning of
another utterance: Poirot was shaken; shaken and embittered (A. Christie); Supposing
father had wanted to say something - something private to them (K. Mansfield);
e) the combination of several picks forms a chain repetition: A smile would come into Mr.
Pickwick face. Smile extended into laugh, the laugh into roar, and the roar became
general (Ch. Dickens).
Repetition, as an expressive means of syntax, is widely used in all spheres of speech:
journalistic, business, scientific, in everyday colloquial speech and in fiction.
 In business and scientific prose, repetition is a necessary stylistic element that ensures
consistency, accuracy, and clarity of expression.
In everyday colloquial speech, repetition is often found within two interconnected remarks,
as well as in the utterances of one speaker.
The stylistic functions of repetition within two adjacent replicas are revealed in close
relationship with the context. What they have in common is the expression of the speaker's
immediate and always expressively colored reaction to what has been said (surprise, joy,
satisfaction, various shades of negative reaction)
Within the limits of one utterance, repetition serves as a means of emotional and logical
enhancement of the meaning of the utterance.
It may appear that repetitions create information redundancy. However, it is not.
Additional stylistic meanings that arise when using repetitions are a necessary element of the
emotional and artistic impact on the addressee.
The enumeration is created by repetition of homogeneous syntactic units - both individual
members of a sentence and phrases. The enumeration is based on the syntactic process of
expansion, which is understood as the addition to some syntactic unit of other units of the same
syntactic status and common syntactic connection with it in the structure of the sentence. The
process of unfolding a speech series, the leading feature of which is the contact arrangement of
components in a linear series, gives this construction a stylistic significance.
The transfer can be carried out both with allied and non-allied communications. The
absence of a union or its repetition in front of each of the homogeneous members of the
sentence gives a certain semantic and emotional connotation to the entire statement, and can
also determine its functional and stylistic relevance. So, non-union combinations are
characteristic of oral speech, multi-union slows down the pace of speech with pauses,
highlighting individual words, emphasizing each of the members of the combination.
The stylistic functions of the enumeration are quite varied. The listing can help intensify
the content of the statement: Door-knobs, keyholes, fireirons, window catches were polished;
metal which I had no idea existed flashed with life (V. Pritchett).
The enumeration can also be used as a means of subjective assessment of events. The
enumeration with the inclusion of parallel structures is very expressive: There was a great deal
of confusion and laughter and noise, the noise of orders and counter-orders, of knives and forkst
of corks and glass-stoppers (J. Joyce).
Syntactic tautology - repetition of identical in meaning Grammatically synonymous units
in a sentence. Syntactic tautology is a kind of pleonasm (semantic repetition of homogeneous
words and expressions, serving to clarify, concretize thought, enhance the semantic and
emotional expressiveness of speech) and is characterized by redundancy in the form of
expression.
The most common case of syntactic tautology is the repetition of the subject expressed by
a proper or personal pronoun, as well as the predicate expressed by the main or auxiliary verbs:
“Well, Judge Thatcher, he took it and put it out of interest, and it fetched us a dollar a day a
piece all the round. The widow Douglas, she took me for her son [...] ”(M. Twain).
The tautology is used mainly in colloquial speech to enhance its emotional impact: That
Jimmy Townsend - he and the job were made for each other (J. Wain).
Sometimes the tautology indicates stylistic negligence of speech, as, for example, in the
answers of students: The subject, it is expressed by a noun, oxymoron, it is a stylistic device
[...].
Syntactic tautology is often used in folk songs, ballads, and nursery rhymes to create
rhyme and rhythm.
Polysyndeton is a specific type of communication between components based on a multi-
union composition. The work assumes uniformity, monofunctionality, syntactic independence
of the components, united at the same level of the structural hierarchy.
Union and syntactic parallelism bring functionally independent composed units closer
together, uniting and simultaneously highlighting each of them, accentuating its content. In
polysyndetic constructions, not only the repetition of the same syntactic elements
(homogeneous members of a sentence, composed sentences) is carried out, but also the same
type of connection between them is repeated: The raisins and almonds and figs and apples and
oranges and chocolates and sweets were now passed about the table [...] (J. Joyce)
Scientists note that the most common are constructions with homogeneous predicates,
followed by homogeneous additions, subjects, circumstances and definitions. Here's an example
with homogenous predicates: It was he that first gripped another cub by the ear and pulled and
tugged and growled through jaws - clenched (J. London).
Thus, polysindeton serves as a means of rematization, that is, a means of isolating the
most important, from the point of view of the sender, part of information.
The regularity, rhythm, logical consistency of multi-union communication is inherent
mainly in the book type of speech. Polysyndeton is widely used in poetry, often with different
types of repetition.
The boundaries of the complication of a multi-union structure are theoretically unlimited.
However, in practice, the length of phrases and sentences turns out to be rather limited, which is
due to the requirements of the communicative function of the language. These limitations are
associated not only with the grammatical capabilities of the construction itself, but also with the
volume of a person's short-term memory.
The main stylistic function of polysindeton is to create a certain rhythm of the text: The
pain was gone and life was good and brave and honest and wholesome and true (Sh. O'Casey);
He no longer dreamed of storms, nor of women, nor of great occurrences, nor of great fish, nor
fights, nor contests of strength, nor of his wife (E. Hemingway).
EMPHATIC CONSTRUCTION This construction acts as a means of intensifying the
meaning of one of the elements of a syntactic construction. The stylistic potential of this design
is quite large. With its help, you can logically select any (except for the predicate) member of
the sentence: It isn't every day I get a chance to get out to woods (D. Carter); It's blood they
make their profits of (D. Carter).
In modern English, there is a tendency towards the expansion of this structure, which is
manifested in its coverage of an ever wider linguistic material and the possibility of expanding
the entire model and disseminating its components. So, for the implementation of the stated -
the leading component - not only individual speech units can be used, but also prepositional-
formed groups of II sentences.
The meaning of the intensity of the action is often conveyed in stylistically marked forms
with the intensifier VERB to do. These constructions are synonymous correlates of neutral
forms of the imperative and indicative moods: I like - I do like, Not likes - Does not like, Take it
- Do take it, etc.: “What does worry me is all conventional concern with individual
personalities” (M. Wilson); "I'll never swim the Channel, that I do know", she said (J. Wain).
There are interesting cases of emotional-expressive actualization of the lexical meanings of
the forms of the indicative mood using the intensifier verb to go:
Нейтральная структура Эмфатическая структура
Why do you say such things? Why do you go and say such things?
He did it. He went and did it.
He has caught it. He has gone and caught it.
Stylistically marked constructions express the unexpectedness of the action, its
arbitrariness or inappropriateness, often combined with various shades of subjective expression:
"If you are Master Murdstone", said the lady, "why do you go and give another name, first?"
(J. Galsworthy); "Now, Judd Wrexall, dont you dare go blaming me for Annie Caroline" (M.
Brand).
The verb to go in such constructions loses its lexical meaning and can be attached to any
forms of full-fractional verbs.
Parenthetical clauses, designed as grammatically independent of the sentences in the
structure of which they are wedged, can create various stylistic effects. They are characterized
by the obligatory phonetic emphasis and freedom of position in relation to the sentence in
which they are wedged. The syntactic isolation of the plug-in construction is expressed in
written speech by graphic means - brackets, dashes (rarely, commas).
The plug-in construction clarifies, characterizes the details of the message, gives the
narration liveliness and spontaneity
The inserted sentence belongs to a different semantic plane, conveying the inner speech of
the actor. One of the most important stylistic functions of inserted constructions consists in the
creation of two parallel speech plans of narration - the plan of the author-writer and the
expressive-stylistic plan of the author-narrator.
Inserted constructions can perform other functions, for example, reinforcing the fact that is
being reported: They had not seen - no one could see - her distress, not even her grandfather (J.
Galsworthy).
 They can also have an evaluative meaning: That phrase represented, I think, his deepest
research into the meaning of life (G. Greene), express doubt: "It may be - it is my conjecture
only - that the police are interested" (G Greene), to indicate that the post-drip part of the main
link is expressively emphasized: “But don't - he wagged his finger at me - say a word to anyone
else” (J. Braine).
Often inserted sentences are used to express incidental information, clarifying,
complementing, characterizing the statement: By four o'clock the article was finished and
Hadley - plump, timidly smiling, running as usual about his business - came in with the
photographs that were to go with it [...] (A. Cronin).
The variants of syntactic models created as a result of expansion are stylistically marked
and serve to enhance the expressiveness of speech.
– the violation of word order: stylistic inversion, syntactical split, detachment.
3. Stylistic devices of English syntax based on:
– the interaction of syntactical constructions: parallelism, chiasmus, anaphora,
epiphora;
– the transposition of syntactical meaning in context: rhetorical questions;
– the transposition of types and forms of connection: parcellation.

Recommended Literature
1. Стилистика английского языка / А.Н.Мороховский, О.П.Воробьева, Н.И.Лихошерст,
З.В.Тимошенко. – К.: Вища школа, 1991. – С. 137-162.
2. Galperin I.R. Stylistics. – M.: Higher School, 1981. – P. 202-231, 234-252.
3. Kukharenko V.A. A Book of Practice in Stylistics. – Вінниця.: Нова книга, 2000. – P. 72-
90.
BASIC NOTIONS
EM based on the reduction of the syntactical pattern results from the omission of some
obligatory elements(s) of the sentence structure.
This group includes: ellipsis, aposiopesis, nominative sentences, asyndeton.
EM based on the redundancy of the syntactical pattern results from the addition of some
sentence elements or their deliberate repetition.
 To this group we refer: repetition, enumeration, syntactic tautology, polysyndeton,
emphatic constructions, parenthesis.
EMs based on the violation of the grammatically fixed word order within a sentence or a
deliberate isolation of some parts of the sentence.
Here belong: stylistic inversion, syntactical split, detachment.
Ellipsis is a deliberate omission of at least one member of the sentence.
Nominative (nominal) sentences – sentences consisting only of a nominal group, which is
semantically and communicatively self-sufficient.
Aposiopesis (Greek – ‘silence’) – intentional abstention from completing the utterance.
(also: break-in-the-narrative, stop-short, pull-up).
Asyndeton (Greek – ‘disconnected’) is a deliberate avoidance of conjunctions used to
connect sentences, clauses or words.
Repetition is recurrence of the same element (word or phrase) within the sentence.
Repetition aims at logical emphasis necessary to fix the attention of the reader (listener) on the
key-word of the utterance. Repetition is classified according to the compositional patterns:
1. Ordinary R. has no definite place in the sentence and the repeated unit occurs in various
positions without obvious regularity – …a, ….a, a… .
2. Successive R. is a string of closely following each other reiterated units – …a,a,a…
This is the most emphatic type of repetition which usually signifies the peak of emotions
of the speaker.
3. Framing (ring) R. – a repetition in which the opening word or phrase is repeated at the
end of the sentence or a group of sentences, thus forming the ‘frame’ for the non-repeated
part of the sentence (utterance) – a…a.
4. Linking R. (catch R. or reduplication or anadiplosis): 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 – …a, a… .
5. If this linking device is used several times in one utterance we get chain R. – …a, a…b,
b…c, c… .
 Another variety of R. is called synonymic R. which is the reiteration of the same idea by
using synonymous words and phrases adding a slightly different nuance of meaning and thus
intensifying the impact of the utterance.
In root-repetition it is not the same words that are repeated but the same root.
Syntactical tautology (pleonasm) – a superfluous repetition of semantically identical words or
phrases to lay stress on a certain part of the sentence
Enumeration is the usage of homogeneous parts of the sentence aimed at emphasizing the
whole utterance or at giving subjective evaluation of the situation.
Polysyndeton – excessive use (repetition) of connectives – mostly conjunctions and
prepositions. The repetition of connectives before each component part makes an utterance more
rhythmical; so that prose may sometimes resemble a verse.
Emphatic constructions – are used to intensify or contrast any part of the sentence, giving
it an emotional charge.
Parenthesis (parenthetic sentences/ clauses) – are sentences or phrases inserted into a syntactical
structure without being grammatically connected with it. In writing they are indicated by commas,
brackets or dashes.
Stylistic inversion is change of the word order in the sentence, the first and the last positions
being most prominent. The direct word order may be changed either completely so that the
predicate (predicative) precedes the subject or partially so that the object (adverbial modifier)
precedes the subject-predicate Correspondently, we distinguish complete and partial inversion.
Stylistic inversion aims at attaching logical stress or additional emotional colouring to the
utterance.
Separation (syntactical split) (дистантне розташування синтаксично зв’язаних
одиниць речення) is the splitting of syntactical unities with the fixed order of components
succession. Very often it concerns a noun phrase comprising the attributive prepositional
adjunct, which may be removed from the word it modifies. Separation may be of two kinds:
– the split of the components in the structure with the direct word order;
– the split of the components in the structure with inversion.
 Detachment – a device based on singling out a secondary member of the sentence with the
help of punctuation and intonation. Practically any secondary member of the sentence may be
detached but most noticeable are cases with a detached attribute.

We distinguish the following groups of syntactical SDs:

1. SDs based on the peculiar formal and semantic interaction of syntactical constructions
in a context: parallelism, chiasmus, anaphora, epiphora.
2. SDs based on the transposition of the syntactical meaning in context: rhetorical
questions.
3. SDs based on the transposition of the types and means of connection within or
between sentences: parcellation, subordination instead of coordination, coordination
instead of subordination.
Syntactical parallelism (parallel constructions) – the usage of. similar syntactical
structures in several adjacent sentences.
Complete parallelism (balance) is observed when the syntactical pattern of the sentence that
follows is completely similar to the preceding one (the same sentence model, word order,
grammatical forms). In incomplete parallel constructions some of the elements in the parallel
rows may be missing or intentionally omitted (to avoid unnecessary repetition) which results in
ellipsis. Parallelism is considered partial when either the beginning or the end of several
neighbouring sentences are structurally similar.
Chiasmus is a special type of parallelism. The second part of a chiasmus is, in fact,
inversion of the first construction.
Anaphora – implies identity of the initial elements in several adjacent sentences (verse
lines, stanzas, paragraphs) and is a kind of lexico-syntactical repetition.
Epiphora is the stylistic figure opposite of anaphora. It is recurrence of some elements
concluding several syntactical units (utterances, verse lines, sentences, paragraphs).
Rhetorical question is an emphatic negation or an affirmation in the form of a question.
Parcellation – a deliberate break of the sentence structure into two or more isolated parts,
separated by a pause and a period (full stop).
 PRACTICAL ASSIGNMENT
Find syntactical EMs and SDs used. Explain their stylistic functions in the given context:
1. “We hadn’t read anything private really,” begged Nuala, who was younger and more
frightened.
Frightened she had reason to be (M. Binchy).
2. Oh I hate small men and I will write about them no more but in passing I would like to
say that’s what my brother Richard is: small. He has small hands, small feet, a small waist, small
children, a small wife, and when he comes to our cocktail parties he sits in a small chair. If you
pick up a book of his, you will find his name, “Richard Norton,” on the flyleaf in his very small
handwriting. He emanates, in my opinion, a disgusting aura of smallness (J.Cheever)
3. I wanted to knock over the table and hit him until my arm had no more strength in it,
then give him the boot, give him the boot, give him the boot – I drew a deep breath (J.Braine).
4. Of her father’s being groundlessly suspected, she felt sure. Sure. Sure (Ch.Dickens).
5. Failure meant poverty, poverty meant squalor, squalor led, in the final stages, to the
smells of stagnation of B. Inn Alley (D.du Maurrier).
6. Living is the art of loving.
Loving is the art of caring.
Caring is the art of sharing.
Sharing is the art of living (W.H.Davies)
7. I notice that father’s is a large hand, but never a heavy one when it touches me, and that
father’s is a rough voice but never an angry one when it speaks to me (Ch.Dickens).
8. I have been accused of bad taste. This has disturbed me not so much for my own sake
(since I am used to the slights and arrows of outrageous fortune) as for the sake of criticism in
general (W.S.Maugham).
9. I understood him (who wouldn’t?), but I suspected his motives (J.Cheever)
10. He looked at her and suddenly she saw that he did like her (M. Binchy)
11. It was she who decided to lift the hotel on to a higher level (M. Binchy)
12. Still, it was Vera’s decision. It was after all she who had bought the house, and filled it with
valuable things. It was Vera who made the day-to-day decisions about how they spent the money
which was mainly her money (M. Binchy)
 13. Nessa Ryan, eighteen and desired by the most handsome man in Ireland, drew herself
up to her full height (M. Binchy)
14. Women are not made for attack. Wait they must (J.Conrad).
15. Out came the chase – in went the horses – on sprang the boys – in got the travellers
(Ch.Dickens).
16. Michael dropped things sometimes. His mother’s china he never touched (M. Binchy)
17. Malay camp. A row of streets crossing another row of streets. Mostly narrow streets.
Mostly dirty streets. Mostly dark streets. (P.Abrahams).
18. Gray, grimy, vital Leeds, great industrial city of the north, the seat of Emma’s power
and his grandfather’s and David Kallinski’s family (B.T. Bradford)
19. His forehead was narrow, his face wide, his head large, and his nose all on one side
(Ch.Dickens).
20. I’m a horse doctor, animal man. Do some farming, too. Near Tulip, Texas (T.Capote).
21. H: The waves, how are the waves?
C: The waves? Lead.
H: And the sun?
C: Zero. (S.Beckett).
22. This is a story how a Baggins had an adventure. He may have lost the neighbours’
respect, but he gained – well, you will see whether he gained anything in the end (A.Tolkien).
23. “Well, they’ll get a chance now to show –” Hastily: “I don’t mean – But let’s forget
that.” (O’Neill)
24. By the time he had got all the bottles and dishes and knives and forks and glasses and
plates and spoons and things piled up on big trays, he was getting very hot, and red in the face,
and annoyed (A.Tolkien)
25. The Duchess called it bribery, and said it might have compromised the candidate she
was supporting; he was expected to subscribe to church funds and chapel funds, and football
and cricket clubs and regattas, and bazaars and beanfeasts and bell-ringers, and poultry shows
and ploughing matches, and reading-rooms, and choir outing, and shooting trophies and
testimonials, and anything of that sort; but bribery would not have been tolerated. (Saki)
 26. With these hurried words Mr. Bob Sawyer pushed the postboy on one side, jerked his
friend into the vehicle, slammed the door, put up the steps, wafered the bill on the street door,
locked it, put the key into his pocket, jumped into the dickey, gave the word for starting
(Ch.Dickens).
27. This evening the bag contained: a number of crumpled tissues, some pink, some white, a
spray bottle of ‘Wild Musk’ cologne, three ballpoint pens, a pair of nail clippers, a London tube
pass, a British Telecom phone card, an address book, a mascara wand in a shade called ‘After-
midnight’ blue, a cheque book, a notebook, a postcard from a friend on holiday in Brittany, a
calculator, a paperback of Vasari’s Lives of the Artists, which Bridget had always meant to read
but was getting on very fast with, a container of nasal spray, a bunch of keys, a book of matches, a
silver ring with a green stone, probably onyx, a pheasant’s feather picked up while staying for the
weekend in someone’s cottage in Somerset, three-quarters of a bar of chocolate, a pair of
sunglasses and her wallet which contained the single card she possessed, her bank cheque card, her
library card, her never-needed driving licence and seventy pounds, give or take a little, in five- and
ten-pound notes. (R. Rendell)
28. That he sings, and he sings, and for ever sings he –
“I love my Love and my Love loves me!” (S.T.Coleridge).
29. She found herself defending her friends in her home and defending her family when
she was with her friends (M. Binchy)
30. She was crazy about you. In the beginning (R.P.Warren).
31. “He is a very deliberate, careful guy and we trust each other completely. With a few
reservations” (D.Uhnak).