Women are not made for attack wait they must

Стилистические приемы: разрыв, интрига, инверсия. Учебное пособие Борисова Е., Кулинич М., Перова Р.

Продолжаем знакомить читателя со стилистическими приёмами в английском языке.

В данной заметки речь пойдет о «разрыве», «интриге», «инверсии».

Разрыв в предложении – стилистический прием, созданный для вовлечения и погружения читателя в текст, воссоздание движения, действия, ритмичности.

Интрига – стилистический прием, завязка, способ раскрытия сложного художественного события, повышает интерес читателя.

Инверсия – в стилистике намеренное нарушение порядка слов в предложении (мы помним, что английское предложение имеет строгий порядок построения), выделяет одно или несколько слов из предложения, усиливает ритмику.

Примеры стилистических приемов: разрыв, интрига, инверсия.

Упражнение по приемам стилистики: Find and analyze cases of detachment – I, suspense – II, inversion – III. Comment on the structure and function of each. Найди и проанализируй случаи употребления разрыва в предложении, интриги и инверсии. Охарактеризуйте цель и структуру каждого предложения.

1. She narrowed her eyes a trifle at me and said I looked exactly like Celia Briganza’s boy. Around the mouth. Она немного сузила глаза, посмотрев на меня, сказала, что губами я напоминаю ей сынишку Селии Бриганзы. (Jerome David Salinger) – II.

2. He observes all it with a keen quick glance, not unkindly, and full rather of amusement then of censure. Он наблюдает за всей ситуацией с оживлением, лаской и удивлением, нежели с порицанием. ( Virginia Woolf ) – II.

3. She was crazy about you. In the beginning. Она с ума по тебе сходила, поначалу. – I.

4. How many pictures of new journeys over pleasant country, of resting places under the free broad sky, of rambles in the field and woods, and paths not often trodden how many tones of that one well-remembered voice, how many glimpses of the form, the fluttering dress, the hair that waived so gaily in the wind – how many visions of what had been and what he hoped was yet to be – rose up before him in the old, dull, silent church! Как много буклетов с предложениями о новых путешествиях по всей стране, о курортах с просторными небесами и прогулками по лесам и полям, где нет суеты, где раздаются хорошо знакомые звуки. Как много мелькающих образов, струящихся платьев, волос, весело завитых в волны. Как много ведений, которые были, и видений, которые он надеялся увидеть, – предстали перед ним в старой, глупой, беззвучной церкви. (Charles Dickens) – I, II.

5. It Was not monotonous days unchecked by variety and unheeded by pleasant companionship, it wasn’t the dark dreary evenings or the long solitary nights, it wasn’t the absence of every slight and easy pleasure for which young hearts beat high or the knowing nothing of childhood but its weakness and its easily wounded spirit, that had wrung such tears from Nell. Это были бесшабашные деньки, наполненные весельем и удовольствием компанейских тусовок, зажигательных вечеров, пора влюбленности, легкомысленности, ребячества. Но невыносимая легкость бытия ранила его чувства и заставляла рыдать. (Charles Dickens) – III.

6. Of all may old association, of all my old pursuits and hopes, of all the living and dead world, this one pour soul alone comes natural to me. Из всех моих давнишних связей, занятий и надежд, мертвых и живых миров, лишь одна эта несчастная душа кажется мне настоящей. (Charles Dickens) – III.

7. I have been accused of bad taste. This has disturbed me not so much for my own sake (since I’m used to the slights and arrows of outrageous fortune) as for the sake of criticism in general. Я был обвинен в плохом вкусе. Меня это не очень сильно волновало, (с того времени как я привык к высокомерию и издевкам вычурной фортуны) впрочем, наличие критики волновало меня.- II.

8. On, on he wandered, night and day, beneath the blazing sun, and the cold pale moon; through the dry heat of noon, and the damp cold of night; in the grey light of morn, and the red, glare of eve. И днем и ночью он бродил под жестоким солнцем, и холодным светом бледной луны, шел сквозь сухой жар полдня и туманный холод ночи, и в серое утро, слепящий красный закат. (Charles Dickens) – III.

9. Benny Collan, a respected guy, Benny Collan wants to marry her. And agent could ask for more? Бенни Коллан уважаемый молодой человек, Бенни Коллан хочет взять ее в жены. Мог бы боец просить о большем? – III.

10. Women aren’t made for attack. Wait they must. Женщины не созданы для нападения, их удел – ожидание. – III.

11. Out came the chase – in went the horses – on sprang the boys – in got the travels. Началась охота – лошадей вывели – всадники и попутчики забрались в седла. (Charles Dickens) – I.

12. Then he said: «You think it’s so? She was mixed up in this lousy business? ». Тогда он сказал: «Вы так думаете, она замешана в этом паршивом деле?». – II, III.

Стилистическая инверсия ( Stylistic Inversion )

В отличие от грамматической инверсии (которая является нормой в вопросах) стилистическая инверсия не изменяет структурного значения предложения. Она основывается на преднамеренном нарушении нормативного порядка слов с целью достижения выразительности повествования, динамизма, экспрессивности и ритма.

Существуют несколько моделей стилистической инверсии.

1) Сказуемое или часть его ставятся перед подлежащим в повествовательном предложении: From my wings are shaken the dews; “A good generous prayer it was.” (Twain) “Rude am I in my speech… “.

2) Дополнение или обстоятельство ставятся в начале предложения:

“Talent Mr.Micawber has; capital Mr.Micawber has not.” (Dickens)

“Eagerly I wished the morrow.” (Poe); “My dearest daughter, at your feet I fall.” (Dryden);

“In he got and away they went.” (Waugh)

3) И сказуемое и обстоятельства ставятся перед подлежащим: “In went Mr. Pickwick.” (Dickens); “Down dropped the breeze…” (Coleridge)

4) Определение ставится после определяемого слова:

“With fingers weary and worn…” (Hood); “Once upon a midnight dreary…” (Poe)

Нормативный порядок слов может меняться и в вопросительном предложении:

“Your mother is at home?” (Baldwin) Подобный вопрос, как правило, задаётся человеком, который уверен в положительном ответе и который ждёт какой-то дополнительной информации. Вопросительные конструкции с прямым порядком слов рассматриваются как случаи двухступенчатой инверсии: прямой порядок слов грамматическая

инверсия прямой порядок слов.

Упражнение 19. Проанализируйте структуру и функцию инверсии.

Where white flows the river and bright blows the broom. (Stevenson)

10. One tall, thin girl who walked ahead of me I watched. (Reed)

What is the structure of litotes?

It is a peculiar use in a negative construction the first compounded of a litotes is always ‘not’; the second always negative in meaning where is inform from a negatively affixed word to a negative phrase.

Tasks and exercises:

Analyze the following cases of inversion.

2. Women are not made for attack. Wait they must. (J.Conrad) they must wait. predicate is placed before the subject stylistic

3. How little had I realized that, for me, life was only then beginning. (A.Christie) the predicative stands before the link-verb and both are placed before the subject

4. Then he said: “You think it’s so? She was mixed up in this lousy business?” (J.Baldwin) stylistic

5. The cloud-like rocks, the rock-like clouds

Dissolved in glory float,

And midway of the radiant flood,

Hangs silently the boat. (Longfellow) для сохранения рифмы

6. Terribly cold it certainly was. (O.Wilde) the attribute is placed after the word it modifies

Classify the following detached members according to their syntactical function.

1. Each of them carried a notebook, in which whenever the great man spoke, he desperately scribbled. Straight from the horse’s mouth. (A.Huxley)

Каждый из них нес ноутбук, в котором всякий раз, когда великий человек говорил, он отчаянно написал. Прямо из первых уст.Adverbal modifire

2. She narrowed her eyes a trifle at me and said I looked exactly like Celia Briganza`s boy. Around the mouth. (J.D.Salinger)

Она прищурилась мелочь на меня и сказал, что я выглядел в точности как мальчик Селия Briganza `ы. Вокруг рта. Adverbal modifire

3. She was crazy about you. In the beginning. (R.P.Warren)

Она была без ума от тебя. В начале. object

4. Despiere had been nearly killed, ingloriously, in a jeep accident. (I.Shaw)

Despiere был почти убит, бесславно, в джипе аварии adverbal mofifire of manner

5. I have to beg you for money. Daily! (S.Lewis)

Я должен просить у вас денег. Ежедневно! Edverbal modifire

6. A hawk, serene, flows in the narrowing circles above. (A.Miller)

Ястреб, спокойный, течет в сужении круга выше.atribute

Analyze the following cases of parallel constructions.

1. When you are right you cannot be too radical; when you are wrong, you cannot be too conservative. (Martin Luther King, Jr.)

Когда вы правы, вы не можете быть слишком радикальным, когда вы не правы, вы не можете быть слишком консервативными.

2. New roads; new ruts. (G. K. Chesterton)

Новые дороги, новые колеи.

4. Immature poets imitate; mature poets steal. (T.S. Eliot)

Immature poets imitate; mature poets steal. Одинаковая конструкция

5. O well for the fisherman’s boy,
That he shouts with his sister at play!
O well for the sailor lad,
That he sings in his boat on the bay! (Alfred Lord Tennyson)

О, а для мальчика рыбака,

То, что он кричит вместе со своей сестрой в игре!

О, а для моряка парень,

То, что он поет в своей лодке по бухте! Одинаковая синтакисческая сруктура для рифмы

Discuss the following cases of chiasmus.

1. I know the world and the world knows me. (Ch.Dickens) я знаю мир и мир знает меня

2. There are so many sons who won’t have anything to do with their fathers, and so many fathers who won’t speak to their sons. (O.Wilde)

Есть так много сыновей, которые не будут иметь ничего общего с их отцами, и так много отцов, которые не будут говорить своим сыновьям.

4. In the days of old men made the manners;

Manners now make men. (G.G.Byron) В старину люди сделали манеры;

манеры сейчас делают мужчин

5. Well! Richard said that he would work his fingers to the bone for Ada, and Ada said that she would work her fingers to the bone for Richard. (Ch.Dickens.)

Ну! Ричард сказал, что он будет работать пальцы до кости для Ада и Ада сказала, что она будет работать пальцы до кости для Ричарда.

Classify the following cases of repetition.

1. Obviously- this is a streptococcal infection. Obviously. (W.Deeping)

Очевидно, это стрептококковой инфекции. Очевидно. Framing

2. I am exactly the man to be placed in a superior position in such a case as that. I am above the rest of mankind, in such a case as that. I ca act with philosophy in such a case as that. (Ch.Dickens) Я именно тот человек, чтобы быть помещены в более высокое положение в таких случаях, как это. Я выше остального человечества, в таком случае, как это. Я ок действовать с философией в таком случае, как это. Anaphora

3. I wake up and I’m alone, and I walk round Warley and I’m alone, and I talk with people and I’m alone and I look at his face what I’m home and it’s dead. (J.Braine)

Я просыпаюсь, и я один, и я иду вокруг Уорли, а я одна, и я поговорить с людьми, а я одна, и я смотрю на его лицо, что я дома, и он умер. Linking or reduplication

4. He ran away from the battle. He was an ordinary human being that didn’t want to kill or be killed, so he ran away from the battle. (St.Heym)

Он сбежал с поля боя. Он был обычным человеком, который не хотел убивать или быть убитым, так что он сбежал с поля боя. Epiphora

6. Failure meant poverty, poverty meant squalor, squalor led in the final stages to the smells and stagnation of B. Inn Alley. (D du Maurier)

Отказ означает бедность, нищета означает, убожество, нищета привели в заключительной стадии к запахам и стагнации. Не знаю(

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Find examples of inversion and detachment in W. S. Maugham’s novel “Theatre”.

Analyze cases of inversion and detachment. Make the sentences sound neutral by restoring the word order

1. She narrowed her eyes a trifle at me and said I looked exactly like Celia Briganza’s boy. Around the mouth. (S.)

2. He observed it all with a keen quick glance, not unkindly, and full of rather of amusement than of censure. (V.W.)

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

4. I have been accused of bad taste. This 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. (S.M.)

4. On, on he wandered, night and day, beneath the blazing sun, and the cold pale moon; through the dry heat of noon, and damp cold of night; in the grey light of morn, and the red glare of eve. (D.)

5. Benny Collan, a respected guy, Benny Collan wants to marry her. An agent could ask for more? (T.C.)

6. Women are not made for attack. Wait they must. (J.C.)

7. Out came the chase – in went the horses – sprang the boys – in got the travelers. (D.)

8. Then he said: “You think so? She was mixed up in this lousy business? (J.B.)

9. 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.

Paper 11

1. What group do ellipsis, aposiopesis and represented speech belong to?

2. What SDs are based on the stylistic use of interrogative and negative constructions?

3. What is the difference between ellipsis and aposiopesis?

4.Find examples of represented speeh,rhetorical questionsin W. S. Maugham’s novel “Theatre”.

Discuss different types of stylistic devices dealing with the completeness of the sentences

1. In manner, close and dry. In voice, husky and low. In face, watchful behind a blind. (D.)

2. His forehead was narrow, his face wide, his head large, and his nose all on one side. (D.)

3. A solemn silence: Mr. Pickwick humorous, the old lady serious, the gentleman cautious and Mr. Miller timorous. (D.)

4. He, and the falling light and dying fire, the time-worn room, the solitude, the wasted life, and gloom, were all in fellowship. Aches, and dust, and ruin! (D.)

5. I am a horse, doctor, animal man. Do some farming, too. Near Tulip, Texas.

6. 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.)

8. “He was shouting out that he’d come back, that his mother had better have the money ready for him. Or else! That is what he said : “Or else! It was a threat.”

9. “Listen, I’ll talk to the butler over that phone and he’ll know my voice. Will that pass me in or do I have to ride on your back?”

11. And it was unlikely that anyone would trouble to look there – until – well.

Analyze the structure and the functions of litotes

1. “To be a good actress, she must always work for the truth in what she’s playing” the man said in a voice not empty of selflove.

2. “Yeah, what the hell”. Anne said and looking at me, gave that not unsour smile”. (R.W.)

3. It was not unnatural if Gilbert felt a certain embarrassment. (E.W.)

4. The idea was not totally erroneous. The thought did not displease me. (I.M.)

5. I was quiet, but not uncommunicative; reserved, but not reclusive; energetic at times, but seldom enthusiastic. (Jn.B.)

6. He had all the confidence in the world, and not without reason. (J. O’H)

7. Kirsten said not without dignity: “Too much talking is unwise”. (Ch.)

8. “No, I’ve had a profession and then a firm to cherish,” said Ravenstreet, not without bitterness. (P.)

Paper 12

1. What are the types of climax?

2. What is anticlimax?

3. What is the function of anticlimax?

4. What is suspense and how is it technically organized?

Find and analyze cases of suspense and climax. Indicate the type of climax

1. “Is it shark?” said Brody. The possibility that he at last was going to confront the fish – the beast, the monster, the nightmare – made Brody’s heart pound.

2. We were all in all to one another, it was the morning of life, it was bliss, it was frenzy, it was everything else of that sort in the highest degree.(D.)

3. How many pictures of new journeys over pleasant country, of resting places under the free broad sky, of rambles in the fields and woods, and paths not often trodden – how many tones of that one well-remembered voice, how many glimpses of the form, the fluttering dress, the hair that waved so gaily in the wind – how many visions of what had been and what he hoped was yet to be – rose up before him in the old, dull, silent church!

4. Like a well, like a vault, like a tomb, the prison had no knowledge of the brightness outside. (D.)

5. “I shall be sorry, I shall be truly sorry to leave you, my friend.” (D.)

6. “Of course it is important. Incredibly, desperately important.” (D.S.)

7. “I’ve never told you about the letter Jane Crofut got from her minister when she was sick. He wrote Jane a letter and on the envelope the address was like this: Jane Crofut, The Crofut Farm; Grover’s Corners; Sutton County; New Hampshire; United States of America.” “What’s funny about it?” “But listen, it’s not finished: the United States of Americe; Continent of North America; Western Hemisphere; the Earth; the Solar System; the Universe; the Mind of God – that’s what it said on the envelope.” (Th.W.)

8. It was not the monotonous days unchecked by variety and uncheered by pleasant companionship, it was not the dark dreary evenings or the long solitary nights, it was not the absence of every slight and easy pleasure for which young hearts beat high or the knowing nothing of childhood but its weakness and its easily wounded spirit, that, had wrung such tears from Nell. (D.)

9. For that instant there was no one else in the room, in the house, in the world, besides themselves. (M.W.)

10. This was appalling – and soon forgotten. (G.)

11. If all my old association, of all my old pursuits and hopes, of all the living and dead world, this one poor soul alone comes natural to me. (D.)

12. In moments of utter crises my nerves act in most extraordinary way. When utter disaster seems imminent my whole being is simultaneously braced to avoid it. I size up the situation in flash, set my teeth, contract my muscles, take a firm grip of myself, and without a tremor always do the wrong thing. (B.Sh.)

13. “You have heard of Jefferson, of Jefferson Brick, I see, sir,” said the Colonel with a smile. “England has heard of Jefferson Brick. Europe has heard of Jefferson Brick.” (D.)

Paper 13

1. What is antithesis?

2. What is the difference between antithesis and oxymoron?

3. What are the types of repetition?

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Reversed parallel construction

a) reversed parallelism of the structure of several sentences (clauses)

b) of the first construction in the second part (V.A.K.)

e.g. If the first sentence (clause) has a direct word order – SPO, the second one will have it inverted – OPS.

e.g. So long as men can breathe or eyes can See

e.g. So long [u]lives this and this gives[/u] life to thee. (W.Shakespeare – XVIII)

— a group of stylistic devices based on repetition of a syntactical pattern, but it has a cross order of words and phrases;

— reversed parallel construction, the word-order of one of the sentences being inverted as compared with that of the other;

— sometimes achieved by a sudden change from active voice to passive or vice versa;

— is effective in that it helps to lay stress on the second part of the utterence, which is opposite in structure;

— can appear only when there are two successive sentences or coordinate parts of a sentence;

— is sometimes used to break the monotony of parallel constructioins;

— always bring in some new or additional emphasis on some portion of the second part;

One cannot help noticing that the first part is somewhat incomplete, it calls for continuation, and the anticipation is rewarded by the second part of the construction, which is, as it were, the completion of the idea.

— contributes to the rhythmical quality of the utterance, and the pause caused by the change in the syntactical pattern may be likened to a caesura in prosody;

e.g. Down dropped the breeze, // The sails dropped down. (Coleridge)

e.g. As high as we have mounted in delight // In our dejection do we ink as low. (Wordsworth)

Syn.: chiasmus, reversed parallel construction

(stylistic) inversion

Inversion

a syntactical in which the direct word order is changed either completely so that the predicate precedes the subject (complete inversion), or partially so that the object precedes the subject-predicate pair (partial inversion) (V.A.K.)

e.g. Of all my old association, of all my old pursuits and hopes, of all the living and the dead world, this one poor soul alone comes natural to me. (Dickens)

e.g. Women are not made for attack. Wait they must. (J.Conrad)

aims at attaching logical stress or additional emotional colouring to the surface of the utterance (I.R.G.:204)

e.g. Talent Mr. Micawber has; capital Mr. Micawber has not. (Dickens)

e.g. Down dropped the breeze … (Coleridge)

нарушение обычного порядка следования членов предложения, в результате которого какой-нибудь элемент отказывается выделенным и получает специальные коннотации эмоциональности и экспрессивности (I.V.A.)

e.g. Love he did her surely. (Th. Dreiser)

e.g. On the terrace stood a knot of distinguished visitors. (Huxley)

e.g. In one corner sat the band … (Huxley)

e.g. On the corner, waiting for a bus, had stood a young woman. (Buechner)

e.g. And only then will you truly joined the common European home … (David Atkinson)

e.g. Strange is the heart of woman. (S. Leacock)

e.g. Money he had none.. (E. Gaskell) – Денег у него не было ни гроша.

e.g. Misty mountains they saw. (L. Sinclair)

e.g. This he knew very well. A pretty paradise did we build for ourselves. (Thackeray)

e.g. Terrible it had been! (K. Mansfield)

Suspense

a deliberate postponement of the completion of the sentence with the help of embedded clauses (homogeneous members) separating the predicate from the subject and introducing less important facts and details first, while the expected information of major importance is reserved till the end of the sentence (utterance) (V.A.K.)

a compositional device which consists in arranging the matter of a communication in such a way that the less important, descriptive, subordinate parts are amassed at the beginning, the main idea being withheld till the end of the sentence (I.R.G.:218)

e.g. Mankind, says a Chinese manuscript, which my friend M. was obliging enough to read and explain to me, for the first seventy thousand ages ate their meat raw. (Ch.Lamb)

e.g. Only when, after a few minutes, he \[the monkey\] ceased spinning and simply crouched in the pale light, bouncing softly up and down, his fingers digging into the carpet, his tail curled out stiff, did he start to speak to them. (Buechner).

Detachment

Detached construction

a based on singling out a secondary member of the sentence with the help of punctuation (intonation) (V.A.K.)

e.g. I have to beg you nearly killed, ingloriously, in a jeep accident. (I.Shaw)

e.g. I have to beg you for money. Daily. (S.Lewis)

e.g. She was crazy about you. In the beginning. (R.P.Warren)

placing one of the secondary parts of a sentence by some specific consideration of the writer so that it Seems formally independent of the word it logically refers to.

The detached part, being torn away from its referent, assumes a greater degree of significance and is given prominence by intonation.

e.g. Daylight was dying, the moon rising, gold behind the poplars. (Galsworthy)

e.g. ‘I want to go’ he said, miserable. (Galsworthy)

Syn.: detachment, detached construction

Completeness of sentence structure

Ellipsis

a deliberate omission of at least one member of the sentence

e.g. What! all my pretty chickens and their dam at one fell swoop? (W.Shakespeare)

e.g. In manner, close and dry. In voice, husky and low. In face, watchful behind a blind. (Dickens)

e.g. His forehead was narrow, his face wide, his head large, and his nose all one side. (Dickens)

omission of certain members of the sentence

— is typical phenomenon in conversation

— always imitates the common features of colloquial language

e.g. So Justice Oberwaltzer – solemnly and didactically from his high seat to the jury. (Dreiser)

Apokoinu constructions

Apo-koinu constructions

Greek «with a common element»

the omission of the pronominal (adverbial) connective

— create a blend of the main and the subordinate clauses so that;

— the predicative or the object of the first one is simultaneously used as the subject of the second one;

the peculiar introducer or demonstrative construction whose attributive semi-clause has a finite verb predicate

— specific semi-complex sentence;

— formed much on the pattern of common subject overlapping;

— should be classed as a familiar colloquialism of occasional use; Source: (Blokh)

e.g. There was a door led into the kitchen. (Sh. Anderson)

e.g. He was the man killed that deer. (R. Warren)

e.g. There was no breeze came through the door. (E.Hemingway)

e.g. I bring him news will raise his dropping spirits. (O. Jespersen)

e.g. … or like the snow falls in the river. (O. Jespersen)

e.g. … when at her door arose a clatter might awake the dead. (O. Jespersen)

e.g. It was you insisted on coming, because you didn’t like restaurants. (S. O’Casey)

e.g. He’s the one makes the noise at night. (E. Hemingway)

e.g. And there’s nothing more can be done. (A. Christie)

Break-in-the-narrative

Aposiopesis

“a stopping short for rhetorical effect” (I.R.G.)

— used mainly in the dialogue or in the other forms of narrative imitating spontaneous oral speech because the speaker’s emotions prevent him from finishing the sentence (V.A.K.)

e.g. What I had Seen of Patti didn’t really contradict Kitty’s view of her: a girl who means well, but. (D.Uhnak)

Syn.: break-in-the-narrative, aposiopesis

Types of connection

Polysyndeton

repeated use of conjunctions

— is to strengthen the idea of equal logical/emotive importance of connected sentences

e.g. 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)

e.g. Bella soaped his face and rubbed his face, and soaped his hands and rubbed his hands, and splashed him, and rinsed him, and towelled him, until he was as red as beetroot. (Dickens)

the of connecting sentences, or phrases, or syntagms, or words by using connectives (mostly conjunctions and prepositions) before each component part

— makes an utterance more ical; so much so that prose may even Seem like verse

— has a disintegrating function (generally combines homogeneous elements of thought into one whole resembling enumeration);

e.g. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. (Dickens)

Asyndeton

deliberate omission of conjunctions, cutting off connecting words