Hyperbatic coma characteristics, uses and examples

The hyperbatic coma It is the one used when there is a modification in the syntactic order of the elements that make up a sentence. Like the rest of the types of commas, hyperbatic has the effect of a short pause during speech. Its name is due to the fact that it is used in sentences that have hyperbaton.

Precisely, this figure of diction consists of the alteration of the order of the elements that make up the propositions. Although the structure changes, they maintain their original meaning.

The resource is used to give literary beauty to the works. In addition, it can be used to create atmospheres of intrigue and increase the interest of the reader or the audience..

For its part, the hyperbatic comma - also known as the comma of disorder - has the function of pointing out the elements whose positions have been changed within the sentence.

So in prayer Manuel kisses Violeta (with subject + verb + complement structure) some hyperbatic variations can be specified.

One of these variations is achieved by changing the structure to the form complement + verb + subject: A Violeta, Manuel kisses. Another variation can generate the structure verb + complement + subject: Kiss Violeta, Manuel. In each one, the signaling function of the hyperbatic coma can be observed.

Article index

• 1 Features
• 2 Uses of hyperbatic coma
• 3 Examples
  • 3.1 In poetry
  • 3.2 In prose
• 4 References

Characteristics

As already mentioned, the hyperbatic coma is used to mark the literary and diction figure known as hyperbaton. This, in turn, consists of a syntactic alteration that serves to emphasize the meanings in a text.

In this sense, it is very common for the syntax of those contents that show altered moods, passionate conflicts and emotions to be altered to achieve certain effects..

By making use of the hyperbaton and - therefore - of the hyperbatic coma, a textual production gains musicality, rhythm and expressiveness.

On the other hand, this figure does not generally appear in oral speeches. It is almost exclusively for the use of written language, and the orthographic regulations oblige this marriage between the hyperbaton and the hyperbatic coma..  

Uses of hyperbatic coma

The hyperbatic comma is placed at the end of the part that is anticipated by reversing the regular order of a sentence. This can be observed in the sentence: Running out of ammunition, the general confirmed his surrender. Without the hyperbaton, the sentence would be: The general confirmed his surrender by running out of ammunition.

Precisely, like the previous case, one of the most common uses of this comma is when the order of the main clause and the subordinate clause are reversed..

The inversion of prepositional phrases is also common. This can be seen in the following examples:

• Having nothing to offer, he left the place shortly after.
• Since he never had the slightest bit of regret, he never asked for forgiveness.
• If he had not decided to leave earlier, he would have witnessed something unusual.
• As for your money, I don't want it.

Examples

In poetry

Partner,
you know
who can count on me,
not until two or until ten
but to count on me.

If ever
warns
that I look into her eyes,
and a streak of love
recognize in mine,
do not alert your rifles
don't even think I'm delirious
despite the streak,
or maybe because it exists,
you can count
with me.

If other times
He finds me
sullen for no reason,
don't think it's laziness
you can count on me ...

(Let's make a deal, Mario Benedetti)

In this fragment of Benedetti's poem, the use of the hyperbatic coma can be noted on three occasions. The first occurs in the verse: If you ever / notice / that I look into her eyes, / and a streak of love / recognizes in mine, / don't alert your rifles / or think I'm delirious.

Note that without the inversion the verse would remain: Do not alert your rifles or think that I am delirious if you ever notice that I look you in the eye and you recognize a streak of love in mine.

The second case is in the same stanza: despite the vein, / or maybe because it exists, / you can count on / me. If it followed the natural order it would be: You can count on me despite the grain or maybe because it exists.

Finally, the third case is in the third stanza: If other times / he finds me / sullen for no reason, / don't think he's lazy / you can still count on me.

This verse without the hyperbaton would be: Do not think that you are lazy if other times you find me sullen for no reason, you can still count on me.

In prose

"" Good luck, "he whispered, as he does every year on this day, and I left with a coat and an umbrella, went down six steps, skirted the pool ..." (The sum of the days: Biography, Isabel Allende)

In this fragment of Isabel Allende's work, the use of the hyperbatic comma is observed to mark the inversion of the verb and its complement (direct object): "Good luck," he whispered. In this way, the writer puts the emphasis on what is whispered and not on the fact of whispering it.

“I lost several things in Buenos Aires. Because of trouble or bad luck, no one knows where they ended up. I came out with some clothes and a handful of papers. I dont complain. With so many lost people, crying over things would be like disrespecting pain. " (Days and nights of love and war, Eduardo Galeano)

Here, again, the use of this figure is appreciated: Because of trouble or bad luck, no one knows where they ended up. In doing so, in this particular sentence, the author highlights the cause and not the action.

In addition, and with the same effect, hyperbatic coma is present in With so many lost people, crying over things would be like disrespecting pain.    

References

1. Literary figures. (s / f). Hyperbaton. Taken from figuraliterarias.org.
2. Polochic Group. (2009). Spanish Language. Guatemala City: Guatemala.
3. Schalchli Matamala, L. and Herrera Amtmann, M. (1982). Writing and spelling. Santiago: Andres Bello.
4. Álvarez, A. (2005). Write in Spanish. Oviedo: University of Oviedo.  
5. Penas Ibáñez, M. A. (2009). Semantic change and grammatical competence. Madrid:
   Iberoamericana Editorial.
6. Kohan, S. A. (2016). Scoring for writers and non-writers. Barcelona: ALBA Editorial.
7. Ayuso de Vicente, V .; Silva, H. P .; Martínez Hurtado F. J. and Pérex Tapia. M. T. (1994). Practical teaching of spelling (from text to letter). Madrid: Huerga y Fierro Editores.