Are You suprised ?

Particular ways of combining parts of the utterance

• 
  Asyndeton
  
• 
  Polysyndeton
  

3. 
   Particular use of colloquial constructions
   

• 
  Ellipsis
  
• 
  Break-in-the-narrative (Aposiopesis)
  
• 
  Question-in-the-narrative
  
• 
  Represented speech
  

4. 
   Stylistic use of structural meaning
   

• 
  Rhetorical question
  
• 
  Litotes
  

5.2. Compositional Patterns of Syntactical Arrangement
Stylistic Inversion is a figure of speech based on specific word order. It aims at attaching logical stress or additional emotional colouring to the surface meaning of the utterance. Therefore a specific intonation pattern is the inevitable element of inversion. Stylistic inversion in Modern English should not be regarded as violation of Standard English. It is only a practical realization of what is potential in the language itself.

The following patterns of stylistic inversion are most frequently met in both English prose and poetry:

• 
  The object is placed at the beginning of the sentence.
  

E.g. Talent Mr. Micawber has; capital Mr. Micawber has not.

• 
  The attribute is placed after the word it modifies. This model is often used when there is more than one attribute.
  

E.g. With finger weary and worn...(Thomas Hood);

Once upon a midnight dreary...(E.A.Poe)

• 
  The predicative is placed before the subject.
  

E.g. A good generous prayer it was. (Mark Twain)

• 
  The predicative stands before the link-verb and both are placed before the subject
  

E.g. Rude am I in my speech... (Shakespeare)

• 
  The adverbial modifier is placed at the beginning of the sentence.
  

E.g. Eagerly I wished the morrow. (Poe)

My dearest daughter, at your feet I fall. (Dryden)

• 
  Both modifier and predicate stand before the subject.
  

E.g. In went Mr. Pickwick. (Dickens); Down dropped the breeze. (Coleridge)

These models comprise the most common and recognized models of inversion. However, in Modern English and American poetry there appears a definite tendency to experiment with the word order to the extent, which may render the message unintelligibly. In this case there may be an almost unlimited number of rearrangements of the members of the sentence.