Inversion is a stylistic figure

Stylistic figures, that is, unusual constructions of speech, from the point of view of syntax, are not a rare phenomenon in the Russian language. These include a rhetorical question, several types of parallelisms, ending, silence, one-man rule, and others.

Inversion is a figure in stylistics, which, along with the above, occurs most often in poetic works. This turn comes in the arrangement of words in a sentence that violates the traditional order, when the subject follows the predicate, and the definition after the word that it defines. It also breaks away from the epithet being determined, and other speech phenomena occur.

Inversion in the Russian language as an example of an archaic norm is more often encountered in artistic speech. Many writers willingly resort to this method to strengthen the expressiveness of their words.

When an inversion is used in some part of the text, it accentuates the reader's attention on this site, the rearranged words seem to be emphasized, unwittingly stand out, the speech becomes more expressive, original. Thus, the author has the opportunity to show what is most important for him in the content, what matters.

In general, it is believed that the order of words in the Russian language is not strictly fixed, but rather free. This means that the members of the proposal do not have a clearly assigned place. Although, if you look closely, you can find that the permutation options are not infinite, some limitations still exist. They are conditioned by the semantics of the sentence and the connectedness of its components in structure. No matter how the order of words changes in order to emphasize something, change something, or for other reasons, the sentence as a syntactic unit should preserve its structural properties.

In the narrow sense of the word, an inversion is a permutation that breaks the usual word order. It occurs in the following cases:

1) When the REM is placed in front of the topic in the sentence (the concepts of subject and rema correspond to the concepts of subject and predicate, subject and predicate). This occurs when the order of the parts is violated when it is topical. Usually, rema follows the topic. Syntactic division involves the allocation in the sentence of the predicate and subject, and then expanding their secondary members. But the actual division depending on the tasks of communication and a specific situation adapts the grammatical structure of the proposal. In this case, the subject and the predicate do not coincide with the grammatical predicate and subject, that is, the sentence can end, and the predicate can begin. The main tool in this division is the logical stress. With full preservation of parts of the sentence, it is enough to change the intonation of one word, so that the meaning of the whole sentence changes. Particles are also used to distinguish a topic or a rema (not, after all, then).

Such an inversion in poetry allows us to distinguish the definition, the epithet, to make it brighter. This construction of the sentence, namely the location of the definition, expressed in the genitive case after being determined, is characteristic of the literature of the 18th century. That is, it can be said that inversions in poetry are of historical origin.

2) When the permutation of parts of the word combination leads to the fact that the sentence stylistically colored. Here there is a violation of the integrity of the phrase by inserting between its parts of the verb. As if a pause is formed by itself, which separates this word from others, it acquires special significance.

In any case, the inversion is the order of words, to some extent violating the norms of the modern literary language.