2. He was no speaker and he knew that he was no speaker.
The author reiterates the same phrase “he was no speaker” at the beginning and at the end of a sentence.
3. A bubble of mucus came from one tiny nostril, a joyful iridescent bubble.
4. “My brain is the same old brain.”
Detachment
1. “Perhaps it’s a call, Chris! Think of it!My first Aberalaw case.”
He dashed into the hall.
The author makes detachments to enhance their emphasis.
2. “Well, well! This is splendid. Delighted to meet you. Come along in here.”
3. “But we’re not going to get sentimental. Slushy, I mean. No,no!”
1. Ping! Went the door again. Before Andrew could answer, Doctor Philip Denny and Hawkins disappeared into the wet darkness.
Direct onomatopoeia.
2. It sometimes amused outsiders to see snow removal groups, plow blades down, blowers roaring, on a hot, sunny day.
Direct onomatopoeia.
3. “Krr – krr – krr – ki – ki – ki – krr.” “Damn!” said Christine concisely. Only one motor horn in Aberalaw could sound like that.
Direct onomatopoeia. The author imitates natural sound of the horn of the car.
Coupling
1. Heavily, like a dying man, he took stock of them: his patients, gathered, despite the fine summer evening, to pay tribute to his manner, his personality.
A. J. Cronin
The author sets side by side two analogous phrases: “his manner, his personality” in order to reinforce the point.
2. Mel, airport general manager – lean, rangy, and a powerhouse of disciplined energy – was standing by the Snow Control Desk, high in the control tower.
A.Hailey
3. He spoke very angrily and pitterly, and looked straight ahead while he talked.
E. Hemingway
Anastrophe
1. Here she would sit, sewing and knitting, while he worked at the table.
A.J. Cronin
The author uses a purposeful reversal of the natural order of words with a view to heightening their effect.
2. With all this behind them surely they would not starve.
A.J. Cronin
3. Gone now was his pretence of indifference.
A.J. Cronin
Polysyndeton
1. “A diputation from the Committee, five of them, including Ed Chenkin, and escorted by Parry – you know, the Sinai minister – and a man Davies.”
A.J. Cronin
The author uses polysyndeton to bring out every detail and to slow down the action.
2. It was possible to buy fruit and fish and vegetables cheaply there.
A.J. Cronin
3. He brought his arm down and stopped smiling and looked at the fire hydrant and beyond the fire hydrant the gutter and beyond the gutter the street, Ventura, and on both sides of the street houses and in the houses people and at the end of the street the country where the vineyards and orchards were and streams and meadows and then mountains and beyond the mountains more cities and more houses and streets and people.
W. Saroyan
Chiasmus
1. “Ifthey’d done anything to you – after allyou’ve done for me I’d – Oh! I’d have killed that old President.”
A. J. Cronin
The author juxtaposes two ideas.
2. “It looks to me,”continued Soames, “as if she were sweeter on him than he is on her. She’s always following him about.”
J. Galsworthy
3. Gratitude was no virtue among Forsytes, who, competitive, and full of commonsense, had no occasion for it; and Soames only experienced a sense of exasperation amounting to pain, that he did not own her as it was his right to own her, that he could not, as by stretching out his hand to that rose, pluck her and sniff the very secrets of her heart.
J. Galsworthy
4. “In the days of old menmade themanners; Manners now makemen”
J. Byron
This is a famous epigram by Byron, the author, who favoured chiasmus.
5. “Surely they don’t want me for myself, for myself is the same old self they did not want.”
J.London
Climax (Gradation)
1. He was sick, shattered, on the verge of a complete collapse.
A. J. Cronin
The author gives gradual increase in emotional evaluation of the condition of the character.
2. His startled sisters looked, and before the servant girl could get there, the bread plate wobbled, slid, flew to the floor, and broke into shivers.
K. Mansfield
3. “They looked at hundreds of houses; they climed thousands of stairs; they inspected innumerable kitchens.”
S.Maugham
Here the climax is achieved by simple numerical increase.
Alliteration
1. “So he sat and jawned, and gazed at the crowd crowding to the match at two o’clock, crowding back in the gloom at four o’clock…”
A. Bennett
Alliteration is the repetition of similar consonants at the beginning of neighbouring words.
2. She wrinkled her brows in a puzzled frown.
J. Galsworthy
The articulation of “r” is used to reinforce the expression.
3. “Forget and forgive”, she cried passionately.
J.London
4. But he was angry now, his nervousness lost in a swelling indignation at the ignorance, the intolerant stupidity of Chenkin’s accusation, and the acclamation with which the others had received it.
A.J.Cronin
Assonance
1. He wrote and wrote, never looking at the clock, filling sheet after sheet, until his headreeled.
A. J. Cronin
[ u – u – u – – I: – I: – e – I:]
Assonance – deliberate repetition of like sounding vowels in neighbouring words with a view to heightening their effect.
2. When he opened his eyes again he started, seeing something creeping swiftly up a tree.
D.H. Lawrence
[ai – a: – I: – I:]
Rhetorical Question
1. Could a man own anything prettier than this dining-table with its deep tints, the starry, soft-petalled roses, the ruby-coloured glass, and quaint silver furnishing; could a man own anything prettier than a woman who sat at it?
J. Galsworthy
Rhetorical question is a question which requires no answer, and is used merely to emphasise a point.
2. “Please, my dear fellow - ” Llewellyn entreated – “who could help an accident like that? I beg of you – go up and console your wife.”
A. J. Cronin
3. She took the vase of roses and left the room. Soames remained seated. Was it for this that he had signed that contract? Was it for this that he was going to spend some ten thousand pounds?
J. Galsworthy