Stylistic repetition of language units in speech (separate words, word-combinations or sentences) is one of the most frequent and potent stylis­tic devices

Classification. There are such structural types of repetition as:

1. Consecutive contact repetition of sentence parts and separate sentences:

I am wearv. weary, weary of the whole thing!

Never take the rifle again. Put it back! put it back! Put it back!

Голова на солому хилиться, хилиться, хилиться.

Я сорочку знайду вишиванку І надіну, як хлопчик, радий. По барвінку піду на світанку Молодий, молодий, молодий!

2. Anaphora. The repeated word or word-combination is at the beginning of each consecutive syntactic structure:

Victory is what we need. Victory is what we expect.

Щастя не вміщалося у серці, щастя розривало груди!

Трохи не доспиш, трохи не доїси - то й вірші гарні пишуться.

Та й залишився в Києві. Та й закінчив школу. Та й зробився фельдшером.

3. Epiphora. The repeated unit is placed at the end of each consecutive syntactic structure:

It is natural to be scared in a case like that. You are sure to be petri­fied in a case like that.

Вона хотіла жити! Повинна була жити!

Ох і хитрюще! Сонце хитрюще!

Якби це було просто щастя, то це було б просто шастя.

4. Framing. The initial part of a language unit is repeated at the end of this unit:

Poor Mary. How much Jack loved her! What will he do now? I wish it hadn't happened. Poor Mary.

Боже, яка мука стояти отак на роздоріжжі й не знати, куди йти! Що робити, що чинити?.. Боже!..

Я так і знав, що ви забудете принести книгу. Я так і знав.

5. Linking or reduplication. The final component of a syntactic structure is repeated at the beginning of a sequential syntactic structure:

It was because of that dreadful occurrence. That dreadful occurrence had changed it all.

Семен шубовснув у воду, і вода широкими кружками побігла від нього назустріч хвилям.

Повсюди він відчував на собі тяжкий холодний погляд. Погляд у спину.

Сонце пече! Так пече, ніби воно з квасочниками в долі.

6. Chiasmus (reversed parallel construction). In such syntactic struc­tures there is a cross order of repeated language units:

The jail might have been the infirmary, the infirmary might have been

the jail.

Люди існують в часі, а час існує в людях.

Хоч ти іди в ліс по дрова, а я буду вдома, хоч я буду вдома, а ти йди в ліс по дрова.

Не говори, що знаєш, а знай, що говориш.

Communicative functions. The device of repetition aims at emphasiz­ing a certain component of the utterance. Being repeated, a language unit obtains additional stylistic information. Consecutive contact repetition is ca­pable of rendering scores of modal meanings and human emotions: certainty, doubt, delight, impatience, worry, request, invitation, gratefulness, horror, irri­tation, disgust, hate, fury, indignation, and others.

Such varieties of repetition as anaphora, epiphora, framing, linking are text-forming devices or compositional means.

ENUMERATION

It is a syntactic device of naming objects so that there appears a chain of homogeneous parts of the sentence:

There were cows, hens, goats, peacocks and sheep in the village.

Communicative functions. If a chain of enumerating words is long, it creates the effect of great quantity of objects. If the objects being enumerat­ed are heterogeneous, enumeration raises the expressiveness of speech, makes it dynamic and informative.

More examples:

There was a great deal of confusion and laughter and noise, the noise of orders and counter-orders, of knives and forks, of corks and glass-stoppers.

The principal production of these towns appears to be soldiers, sailors,Jews, chalk, shrimps, officers and dock-yard men.

“Мерседеси”, опелі", "сітроєни". "олдсмобілі". "Фіати", “фордии", і навіть "кадилаки" - справжній парад світової ї продукції! Ходжу, дихаю, дивлюсь, слухаю, їм, чхаю, - і взагалі все роблю, що роблять усі живі люди.

Місячне сяйво ворушилося на дорогах, спліталось у коронах дерев, ковзалось по солом'яних стріхах.

І незчулися, як на подвір'ї м'яко загупали чиїсь кроки, як зойкнули росами наполохані черешні, як зашипіла земля.

TAUTOLOGY

The speaker resorts to the repetition and enumeration of the type desсribed above quite intentionally and consciously. However, repetition may be of unintentional, involuntary or tautological nature.

Classification. Tautological repetition may be caused by the following reasons:

1. The speaker's excitement, fright, scare, petrification, grief and other deep emotions:

Darling, darling Bundle. Oh, darling Bundle. She's dead; I know she's dead. Oh, my darling. Bundle darling, darling Bundle. I do love you so. Bundle -darling - darling...

2. Slipshod organization of the utterance, low cultural level of the speaker:

No one could do the job more better.

I ain't got no cigarettes from nobody.

The name of my informant... the name of my informant... the name of... the name. The name escapes me.

3. Peculiar physical condition of the speaker: alcoholic intoxication, drowsiness, unconsciousness, etc.:

“I did... what you said..." Dun gasped, closing his eyes and squeezing the words out in painful jerks.

“It was too late... Give me something, Doc... Give me something, quickly... Got to hold out... get us down... She's on autopilot but... got to get down... Must tell Control... must tell..." His mouth moved silently. With a desperate effort he tried to speak. Then his eyes rolled up and he collapsed.

Мені болить голова... Я хочу трохи спочити... трохи спочити. От іменно... спочити б трохи...

Communicative functions. Generally speaking, involuntary repetition has little to do with stylistics. It becomes stylistically significant when used in writing as a characterization device.

POLYSYNDETON

It is stylistically motivated redundant repetition of conjunctions or prepo­sitions:

The dog barked and pulled Jack, and growled, and raged.

Communicative functions. Polysyndeton is a means of rhythmical or­ganization of the utterance. Due to this quality it is widely used in poetry. It also makes for underlining the most important part of information.

More examples:

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.

First the front, then the back, then the sides, then the superscription, then the seal, were objects of Newman's admiration.

Я бачив, як зірниця впала, Як на снігу вона палала, Як сніг, біліший від лілеї, Вночі іскрився біля неї.

Запальна штука - спорт. Вона захоплює і малого, і старого, і немічного.

PARALLEL CONSTRUCTIONS

Parallelism is a stylistic device of producing two or more syntactic structures according to the same syntactic pattern:

Mary cooked dinner, John watched TV, Pete played tennis.

Assigned features. Parallel constructions is a means of enumerating facts, comparing them or confronting them. Parallel confrontation of facts may result in another stylistic device - antithesis:

Married men have wives, and don't seem to want them.

Single fellows have no wives, and do itch to obtain them.

Communicative functions. Syntactic parallelism is polyfunctional. It creates rhythm and is typical of poetry. It makes speech persuasive and is a feature of the publicistic and oratory styles. It underlines important informa­tion and is widely used in everyday speech.

More examples:

The cock is crowing,

The stream is flowing,

The small birds twitter,

The lake doth glitter.

Our senses perceive no extremes. Too much sound deafens us; too much light dazzles us; too great distance or proximity hinders our view.

Cядеш собі: вітер віє, сонце гріє, картоплиння навіває думки.

Гуде ярмарок... Бігають коні, кричать крамарі, регочуться дівчата, крутиться карусель...

Другі сміються. Треті плачуть.

То заблищить у небі яскраво одинока зірка, то засвітяться контури сизуватої хмари.

INVERSION

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