“You mean, you can’t take less”, said the Hatter: “It’s very easy to take more than nothing”.

. Carroll

Antithesis

1. Most of the children here have had measles. Those that haven’t are sure to have it sooner or later .

A.J. Cronin

2. His cigar bobbed up and down , discharging ash partly on himself, partly on the polished linoleum floor.

A. Hailey

3. It was a signal of tuberculosis; whether old or recent they would know in a moment.

A. Hailey

4. “Storm or not , contracts decreed that air freight perishables must arrive at destination fresh, and swiftly”.

A. Hailey

Detached construction

Parenthesis

1. His place of business – whatever high-class dentists choose to call it – was quite ready for him when he arrived at Hanbridge.

A. Bennett

2. She had a warmth of spirit – he had once described it to himself as a strong kindness – that was at once soothing and restoring.

A. Hailey

3. As he watched her now – she had stopped to speak with one of the interns – he saw her raise a hand and push back her hair from the side of her face.

A. Hailey

4. After tea, while Mary had gone to wash the dishes, - she insisted that Christine looked tired , - Andrew detached the baby from Mrs. Boland and played with it on the hearthrug before the fire.

A.J. Cronin

5. He ran up the porch steps, threw open the front door and there, in the hall , he found Llewellyn.

A. J. Cronin

The author inserts the phrase “in the hall” into this statement to give additional information. This sentence is logically and grammatically completed even without this phrase.

6. Next he constructed, very simply , a dust chamber in which for certain hours of the day the animals were exposed to concentrations of the dust, others being unexposed – the controls .

A. Cronin

With the word “the controls” the author gives explanation of other animals being unexposed.

Anadiplosis (linking, reduplication)

1. He asked her to step in , and in she stepped .

A. Bennett

The author uses the same phrase both at the end of a clause and at the beginning of the successive one.

2. “There was a cold bitter taste in the air, and new-lighted lamps looked sad . Sad were the lights in the houses opposite.”

K. Mansfield

The author uses the same word “sad” both at the end of a sentence and at the beginning of the successive one.

3. With one hand, Danny was using a red telephone; with the other, leafing through emergency orders – Mel’s orders , carefully drawn up for occasions such as this.

A. Hailey

The author uses the same phrase both at the end of a clause and at the beginning of the successive one.

Ellipsis

1. “You see these three teeth?”

A. Bennett

The author uses ellipsis to show that the character speaks in familiar colloquial tone.

2. “They should be through, or almost.” “They might be – if we could find the frigging truck”

A. Hailey

The word “through” is omitted, though the context of the sentence does not suffer.

3. “You can have your bit of snap straight off to-night. No surgery. Dai Jenkins done it.”

A. Hailey

Omission of link verb – “Dai Jenkins has done it”

4. “A pause, then more aggressively, “Any other damnfool stupid notion?”

A. Hailey

Asyndeton

1. With a laugh he would rise, stretch himself, swing round his lenses, put the slides away.

A.J. Cronin

The author writes without conjunctions in order to speed up the action.

2. “Bicket did not answer his throat felt too dry.”

Galsworthy