(1) The use of anacoluthon in his essay causes the opinion that he gives to sound more like fact and therefore even more persuasive.(2) She employed, not by way of stylistic refinement, but in order to correct her imprudences, abrupt breaches of syntax not unlike that figure which the grammarians call anacoluthon or some such name.(3) Such anacoluthon is usually graceful and free from obscurity.(4) The poem's ruins are a kind of anacoluthon in stone, a failed statement, the shattered vessels that once held the noisy social world of the noble warrior, from which the speaker is cut off and to which he cannot return.(5) He takes no thought for style, and his work is marked by frequent pleonasm, anacoluthon , etc.(6) The cast includes this actress, as the season's most adorable waif, whose anacoluthic lament for a hot-rod lover creates a haunting innocence amid squalor.(7) At the beginning of the play, his agitated emotional state is reflected in his language: self-apostrophe, anacolutha etc.(8) However he points out that the recourse to syntactic norms yields an anacoluthic sentence in that the substantive ‘riverrun’ lacks some kind of article.(9) Moreover, there is a wide range of phenomena (ranging from anacolutha to disfluencies) which are in fact specific to spoken language only.(10) His theoretical interests include the cyclical nature of desire and the engagement of anacoluthic time.(11) Even the label ‘colloquialism’ may not be always adequate to interpret anacolutha in Cicero, as Cicero, in the dialogues, often seems to use them to represent a speaker's emphasis.(12) But the introduction begins by discussing how difficult it is to provide an accurate historical narrative of a period when one is still so close to its formative elements, and then in anacoluthic fashion, turns to a lengthy description of each of the papers.(13) On the other hand, his style suffers from ellipses, parentheses (of which there are many), and anacolutha .(14) For example, Plato's dialogues contain a lot of anacolutha , which would now be rejected as ungrammatical, and the same applies to Shakespeare's plays.(15) This constraint shows itself in the repetition of words and phrases; in the verbal oppositions and anacolutha of St. Paul; in the short sentences of St. John.(16) Usually, anacolutha are close enough to a grammatical construction, or can be traced back to a familiar pattern, to be understood without problem by the receptor.
