EX 3

Let's analyze each of the given sentences in terms of detachment, suspense, and
inversion:

1. "She narrowed her eyes a trifle at me and said I looked exactly like Celia
Briganza’s boy. Around the mouth." (S.)
- Detachment: The narrator describes an action without expressing personal feelings
or involvement.
- Suspense: The mention of looking like Celia Briganza's boy creates curiosity and
suggests a potential connection or revelation.
- Inversion: The information about resembling Celia Briganza's boy is provided
after the action of narrowing her eyes, creating a delayed effect.

2. "He observes it all with a keen quick glance, not unkindly, and full rather of
amusement than of censure." (V.W.)
- Detachment: The observer's actions are described without emotional involvement.
- Suspense: The contrast between keen quick glance and not unkindly creates
anticipation and interest.
- Inversion: The expected order might be "not unkindly and full rather of
amusement than of censure," but the inversion adds emphasis and rhythm.

3. "She was crazy about you. In the beginning." (R.W.)

- Detachment: The statement is made without expressing the narrator's emotions.
- Suspense: The mention of "In the beginning" suggests a change or evolution in the
person's feelings over time.
- Inversion: Placing "In the beginning" at the end of the sentence emphasizes the
temporal aspect and adds suspense.

4. (from "D.")
- Detachment: The narrator describes a series of mental images without direct
emotional involvement.
- Suspense: The detailed descriptions of memories create a sense of anticipation and
longing.
- Inversion: The sentence structure, with long descriptions preceding the main
clause, builds suspense and emphasizes the emotional impact.

5. (from "D.")
- Detachment: The narrator describes Nell's emotions without expressing personal
feelings.
- Suspense: The description of what it was not builds anticipation for the actual
cause of Nell's tears.
- Inversion: Placing the actual cause of Nell's tears at the end of the sentence creates
emphasis and suspense.

6. (from "D.")
- Detachment: The narrator reflects on old associations without expressing strong
emotions.
- Suspense: The statement about the one poor soul creates intrigue and anticipation.
- Inversion: Placing "this one poor soul alone comes natural to me" at the end of the
sentence emphasizes its significance.
7. "Corruption could not spread with so much success if a long and almost unobserved
progression of causes and effects did not prepare the conjuncture." (Bol.)
- Detachment: The statement is presented objectively without expressing personal
opinions.
- Suspense: The mention of a long and almost unobserved progression builds
anticipation for the explanation of how corruption spreads.
- Inversion: The inversion in the sentence structure emphasizes the condition
necessary for corruption to spread.

8. "I have been accused of bad taste. This has disturbed me not so much for my own
sake as for the sake of criticism in general." (S.M.)
- Detachment: The narrator describes being accused without expressing personal
emotions.
- Suspense: The reason for being disturbed is revealed after the initial statement,
creating anticipation.
- Inversion: Placing the reason for disturbance after the initial statement emphasizes
the broader concern for criticism in general.

9. "On, on he wandered, night and day, beneath the blazing sun, and the cold pale
moon..." (D.)
- Detachment: The narrator describes the character's actions without expressing
personal feelings.
- Suspense: The repetition of "on" and the contrast between the blazing sun and the
cold pale moon create a rhythmic and suspenseful atmosphere.
- Inversion: The inverted structure emphasizes the continuous wandering and the
contrast between day and night.

10. (from "T.C.")

- Detachment: The statement about Benny Collan wanting to marry her is presented
objectively.
- Suspense: The question "An agent could ask for more?" creates anticipation and
curiosity.
- Inversion: The inversion in the question structure adds emphasis and engages the
reader's attention.

11. "Women are not made for attack. Wait they must." (J.C.)
- Detachment: The statement is presented as a general observation without
expressing personal emotions.
- Suspense: The imperative "Wait they must" creates anticipation and suggests a
forthcoming action.
- Inversion: Placing the emphasis on waiting at the end of the sentence adds weight
to the statement.

12. "Out came the chase—in went the horses—on sprang the boys—in got the
travellers." (D.)
- Detachment: The actions are described without expressing personal emotions.
- Suspense: The rapid succession of actions creates a sense of movement and
anticipation.
- Inversion: The inverted structure adds a dynamic quality to the description.
13. (from "J.B.")
- Detachment: The question is presented without expressing personal emotions.
- Suspense: The question creates anticipation and suggests a potential revelation.
- Inversion: Placing the question at the end of the sentence adds emphasis and
engages the reader's attention.

14. "And she saw that Gopher Prairie was merely an enlargement of all the hamlets
which they had been passing. Only to the eyes of a Kennicot was it exceptional."
(S.L.)
- Detachment: The narrator describes what she saw without expressing personal
emotions.
- Suspense: The contrast between the general observation and the exceptional view
of a Kennicot creates anticipation and interest.
- Inversion: Placing the exceptional view at the end of the sentence adds emphasis
and emphasizes the unique perspective.

EX.4
The sentences you provided showcase various stylistic devices related to the
completeness of the sentence. Here's an analysis of each:

1. "In manner, close and dry. In voice, husky and low. In face, watchful behind a
blind." (D.)
- Ellipsis: The use of ellipsis creates a sense of incompleteness, prompting the
reader to fill in the missing information. Each phrase is concise and leaves room for
interpretation.

2. "Malay Camp. A row of streets crossing another row of streets. Mostly narrow
streets. Mostly dirty streets. Mostly dark streets." (P.A.)
- Parallelism: The repetition of the structure "Mostly [adjective] streets" creates a
rhythmic and complete pattern. It emphasizes the characteristics of the streets in a
systematic way.

3. "His forehead was narrow, his face wide, his head large, and his nose all on one
side." (D.)
- Parallelism: Similar to the previous example, this sentence uses parallelism to list
physical attributes in a structured manner, creating a sense of completeness.

4. "A solemn silence: Mr. Pickwick humorous, the old lady serious, the fat gentleman
cautious and Mr. Miller timorous." (D.)
- Colon: The use of a colon introduces a list and provides a complete sentence
before detailing the characteristics of each person, creating a structured and complete
expression.

5. "He, and the falling light and dying fire, the time-worn room, the solitude, the
wasted life, and gloom, were all in fellowship. Ashes, and dust, and ruin!" (D.)
- Parallelism: The repetition of "He" at the beginning of the sentence and the
consistent structure of listing elements in succession contribute to a sense of
completeness.
6. "She merely looked at him weakly. The wonder of him! The beauty of love! Her
desire toward him!" (Dr.)
- Exclamation: The use of exclamation emphasizes each statement, making them
stand out and feel complete. The repetition of the structure adds emphasis.

7. "Ever since he was a young man, the hard life on Earth, the panic of 2130, the
starvation, chaos, riot, want. Then bucking through the planets, the womanless,
loveless years, the alone years." (R.Br.)
- Parallelism: The parallel structure conveys a series of events and experiences,
providing a complete picture of the character's life journey.

8. (from "S.B.")
- Dialogue: The fragmented nature of the dialogue, with short and incomplete
sentences, creates a sense of urgency and tension. The incomplete responses add to
the suspense and emotional intensity.

9. "I’m a horse doctor, animal man. Do some farming, too. Near Tulip, Texas." (T.C.)
- Periodic Sentence: The first sentence is incomplete and gains completion with the
subsequent sentences. This construction adds emphasis and captures attention.

10. (from "J.")

- Parenthesis: The parenthetical statement enclosed in dashes interrupts the flow of
the sentence, providing additional information about Bead. This adds depth and
completeness to the description.

11. "A black February day. Clouds hewn of ponderous timber weighing down on the
earth: an irresolute dropping of snow specks upon the trampled wastes." (S.L.)
- Colon: The colon introduces a list of elements and provides a sense of
completeness before elaborating on each part. The structure contributes to a well-
paced description.

12. (from "J.C.")

- Imagery: The descriptive language, including metaphors and vivid imagery,
contributes to the completeness of the scene. The sentence provides a rich and
detailed portrayal of the surroundings.

13. "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.T.)
- Dash: The dash indicates a sudden break or interruption, adding emphasis to the
statement that follows. It creates anticipation and curiosity about what the character
gained.

14. (from "R.W.")

- Ellipsis: The ellipsis creates a pause and a sense of incompleteness, encouraging
the reader to anticipate the information that follows. It adds emphasis to the revelation
about someone being crazy about the reader.

15. "What I had seen of Patti didn’t really contradict Kitty’s view of her: a girl who
means well, but." (D.U.)
 - Colon: The colon introduces a statement that sets the stage for the incomplete
phrase that follows. This structure creates a sense of expectation and invites the reader
to consider the contrast.

16. (from "Ch.")

- Ellipsis: The ellipsis in the dialogue suggests a trailing off or hesitation, adding to
the emotional impact of the statement. It creates a pause and emphasizes the threat
conveyed by the character.