Stylistic meaning.

Immeasurable potential of the context (1 + 1 >2.). Contextual meaning (the changeable meaning of a word against certain lexical backgrounds).

"She popped the basket on the table" (= dumped) (S. Chaplin); "It's the fashion, I know, to pop in and out of a house. Same idea as an hotel — perfect freedom of action" (= to come and go) (A. Chris­tie); "Makes you feel a bit gruey, fellows popping off all over the place" (= falling down dead) (K. Kesey).

Zeugma: "She wore her hair and her clothes and her bit of lipstick in such a way..." (M. Spark).

Key words and thematic words (words repeated in a work of fiction). Such words denote main notions, which contribute to the plot and subject revelation of the text.

The word “the Italian” in the novel by I.Murdok gradually implies semantic components such as “nationality”, “housemaid”, “confident”, “passionate person”, “lady-love”.

The word “fog” is repeated 18 times in Galsworthy’s description of London and grows to a symbol of unhappiness.

The word “crazy” is a key word in J. Heller (Catch-22).

Individual artistic meaning of lexis:is defined as a generalization of a number of contextually actualized meanings, their implementation being determined by ideal, thematic and compositional development of a work of fiction.

Grammatical meaning of lexis (expressed via categories of tense, voice, transitiveness, gender).

Procedural verbs: the continuous tense delimits the state, the process and the event.

"'The doctor, he writes me that you are feeling much better.' 'Oh, yes,' she was agreeing, in social brightness" (R. P. Warren);

"They must have seen something on my frozen face, for my father put out a hand, clumsily, and laid it on my sleeve. 'We were forgetting how much she means to you, Oliver'" (W. Golding).

"She did not know how long she had been seeing him, but she did know that she had been seeing him for a time — how long you couldn't tell" (R. P. Warren).

Indefinite-Perfect Opposition: "Не thought: were we happy tonight because we were happy or because once, a long time back, we had been happy? Was our happiness tonight like the light of the moon which does not come from the moon for the moon is cold and has no light of its own, but is reflected light from far away?" (R. P. Warren).

Past indefinite: "I died five years ago" (M. Spark)

Transitiveness/ intransitiveness: "She dressed and lied her way out of the house"; "She scolded the boys into their bathing suits" (J. Updike. Marry me); "We talk ourselves into all kinds of messes" (J. Barth. The End of the Road); "He nod­ded and let himself be gestured into silence" (D. Uhnak. Inves­tigation).

Noun. Actualization of language units via the categories of gender and number: "… and fell into one of those unbelievably deep sleeps that don't leave you feeling rested" (D. Uhnak. Investigation).

4. Literature is a conglomerate of sentences as far as syntax is the major organizer of a speech work.

1) factors which contribute to the specificity of syntax in a work of art (individual features of the author; expressive, compositional, thematic and other tasks determined by a peculiar nature of the fictional discourse).

2) actualized linguistic units on the syntactical level. Themain parameters of syntactical actualization are as follows: sentence length; sentence structure (structure complication, simplification); intonation (via punctuation and word order).