Unpacking the Power of Style: An Analysis of Stylistic Sentences in the Novel Ukhozi Olumaphiko

Abstract

In the analysis of isiXhosa literary texts, the role of stylistic sentences in enhancing the meanings and reinforcement of themes and their impact in foregrounding the textual features has been largely ignored and under researched. This study is intended to explore the efficacy of stylistic sentences in the isiXhosa creative work Ukhozi Olumaphiko. In Ukhozi Olumaphiko, the author artfully employs periodic, cumulative, and balanced stylistic sentences for the realization of different purposes in the story. In this study, content analysis has been used as a qualitative and quantitative research technique, as it allowed for a detailed examination of the novel Ukhozi Olumaphiko. Stylistic sentences were identified, interpreted, and coded, using integer coding for classification. Employing literary stylistics as a theoretical approach, the stylistic sentences were analysed according to their literary impact and effect. The findings indicate that the author utilises periodic sentences predominantly in the beginning stages of the story, a spread of cumulative, balanced, and periodic sentences in the middle stages, and periodic and cumulative sentences more in the end stages of the novel. The stylistics mentioned enhance the themes, textual meanings, and narrative features of Ukhozi Olumaphiko text and are useful in weaving suspense in a way that captures the reader’s attention and evokes emotions.

1. Introduction

This article is intended to provide insight into the effects of the use of stylistic sentences in isiXhosa literary texts, with special reference to Ukhozi Olumaphiko, against the backdrop of literary stylistics. IsiXhosa is one of the indigenous languages spoken in Southern Africa, mostly by its native speakers, known as amaXhosa. The importance of style in creative work has long been acknowledged by scholars such as Burnett and Burnett (1975), who argued that “For all authors, however, there is one starting point that cannot be passed over; the use of language and its suitability”. To have a deeper understanding of the stylistic sentences that encompass literary stylistics, it is imperative to enrich our understanding of the meaning of ‘style’ and what style is in creative writing. Ama (2022) states that style can be viewed as the linguistic habits of a particular author and that style can also be applied to the way language is used in a particular genre, period, and school of writing. Ado advances on this by stating that style is the choice of language used by the author in their own unique way in which they employ or demonstrate their linguistic repertoire to convey their intended message to their readers. According to Heumer (2016), style is more than a superficial ornament that could be replaced without altering the essence of the work; it rather contributes to the meaning of the texts, literary or not. Literary stylistics, then, is the practice of analysing the language of literature using linguistic concepts and categories, with the goal of explaining how literary meanings are created by specific language choices and patterning (Alatawi 2021). Page et al. (2019) concurs with the mentioned definition of literary stylistics stated by Alatawi by positing that one of the most exciting strands of work in stylistics is exploring kinds of iconicity in literary texts: passages of language that can be seen to enact or perform the effects or meanings the text intends on conveying.

What these above-mentioned scholars touch on in defining literary stylistics is incongruent with the definition of stylistics by Kamalu (2023), who argues that stylistics in texts enables the analyst to account for instances of variation in language use by an author or the linguistic choices made by the author in the process of creating meaning. The peculiar way an author uses language to achieve an intended effect is known as his or her style. Therefore, stylistics is about analysing the style of an author by examining the author’s use of language, sentence construction, diction, and tone. Frow (2022) asserts that stylistics is the linguistic analysis of texts but particularly of literary texts. It aims to trace textual meanings or effects to linguistic sources wherever textual meanings or interpretations can plausibly be traced. The statement by Frow underscores those stylistics in literature that deal with a detailed examination of the linguistic features of the text in trying to understand textual meaning. The importance of language proficiency in writing creative texts cannot be over-emphasized, for literature is expressed through language. The author’s creativity in using language, through word choice, sentence construction, and syntax and rhetoric techniques, becomes their voice and style. This then takes us to what style is in the domain of literature and through to understanding stylistic sentences and their effect in creative texts such as novels. As mentioned above, style constitutes sentence construction and syntax. That is, the types of sentences that the author uses in the creative text are part of the author’s style.

1.1. Research Problem

This study examines the scholarly realm by recognizing their contributions in the use of stylistic sentences as literary style in creative writing. Extensive research on stylistic sentences has been conducted by scholars in South Africa and abroad (Ashegova 2021; Zhusunova et al. 2022), albeit with minimal research on the use of stylistic sentences in isiXhosa literary texts. Ukhozi Olumaphiko is a celebrated, award-winning novel that has been studied not only in secondary schools as a prescribed literary text but also by university students and scholars in their research studies. Regardless of the significance of Ukhozi Olumaphiko as an isiXhosa literary work, there is a lack of in-depth analysis of the stylistic sentences used by the author, which can limit understanding of the literary devices, narrative structure, and overall impact on readers (Guy et al. 2018). This is the research gap that motivates this study, as this gap might leave a significant knowledge deficit. Thus, there is a need for a stylistic analysis of the novel Ukhozi Olumaphiko, particularly the use of stylistic sentences, in order to highlight their impact and efficacy in the narrative features of the text of Ukhozi Olumaphiko as well as in contributing to its meaning and the literary significance of the novel and in foregrounding the literary voice of the author. This study investigated the significance of the different types of stylistic sentences, with special emphasis on those that are used repeatedly in the novel Ukhozi Olumaphiko. The author of Ukhozi Olumaphiko has used three types of stylistic sentences recurrently in the text, namely cumulative sentences (also known as loose sentences), periodic sentences, and balanced sentences. It must be noted that the author has used multiple cumulative, balanced, and periodic sentences in the novel, and this study has extracted twenty-seven stylistic sentences from the prominent ones in the novel for discussion purposes.

1.2. Research Questions and Objectives

To demonstrate the pivotal role of stylistic sentences in creative writing, this study responds to these three critical research questions:

(1)

How do stylistic sentences contribute to the overall narration of creative work?

(2)

In what ways do stylistic sentences shape the reader’s emotional response and engagement with the text?

(3)

How do stylistic sentences contribute to the unique literary voice of the author?

The objectives of this article are twofold: to identify the types of stylistic sentences that are employed by the author in the novel Ukhozi Olumaphiko and to show the efficacy of the stylistic sentences in enhancing narrative features of a text and their impact on the readers.

1.3. Significance of This Study

This study contributes to the field of literary stylistics as it explores the potency of stylistic sentences in a literary text. The findings have practical applications for literary analysis and language teaching. In addition to that, it fills a research gap as has been minimal work conducted in the analysis of isiXhosa literary texts in terms of the usefulness of stylistic sentences. Stylistic sentences, as recognised in this study, add artfulness to the writing, making it engaging and memorable for the reader. Therefore, by foregrounding the value of stylistic sentences in a literary text, this study might compel isiXhosa authors to employ stylistic sentences, not only to embellish their creative works but also to enhance deeper meanings. Furthermore, this study could motivate teachers and learners in schools to evaluate and acknowledge the author’s knowledge and ability in skilfully using the language in this literary isiXhosa work prescribed to schools.

1.4. The Overview of the Novel Ukhozi Olumaphiko

Before proceeding to the subsequent headings, it is imperative to give a brief overview of the novel, Ukhozi Olumaphiko. As already mentioned, this novel is a thriller with a political theme. It depicts the hardships and sufferings of black people under the government of the National Party in South Africa before 1994. The story is based in the township of Fort Beaufort, and the protagonist (Mfazwe), who is one of the few educated residents and the only graduate in Bholo at Qaka, finds himself having to escape and go into exile, running for his life as the apartheid police were desperate to catch and kill him. He was accused of inciting violence against the government. He refused to be a police spy, suffering betrayal by people who were spying for the police yet were respected members in the community. He suffers psychological strain as the government uses all manner of torture and isolation to force him to succumb to its demands of being a spy and a sellout. As it is a thriller, the pace is faster, suspense is intense, and the reader is kept on the edge. The main theme is that ‘freedom has been attained through bloodshed’. In the end, justice is served as the apartheid government was defeated, and a democratic government was attained. The perpetrators faced the might of the law under the new government. The novel takes the plot structure of the thriller and as such is divided into three acts, and the author uses stylistic sentences for descriptive epithets, in creating imagery and symbolism and in evoking emotions of fear, anger, and sympathy from the reader.

1.5. Review of Literature

This review of literature aims to synthesise the key findings, methodologies, and theoretical perspectives on the current state of research on literary stylistics with a specific focus on the use of stylistic sentences in creative writing. By examining existing research, this review aspires to identify gaps and inform future investigations. The literature on stylistic analysis is diverse and extensive. Begum (2017) developed a module on stylistics, focusing on the linguistic devices that stylistics employ such as deviation in punctuation, morphological deviation, syntactic and semantic deviation repetition, and metaphor-deviant collocation. Begum’s work is worth mentioning because it further delves into the major theoretical concepts of different linguistic and literary schools and movements that helped to develop stylistics as an independent disciple. There is a plethora of research on literary stylistics, as previously mentioned. According to McIntyre (2012), in their study on stylistics as a tool for the literary critic, analysing the poem Listen by Cummings, the findings were that using stylistics to analyse a poem upholds an interpretation of it and can also highlight elements of a poem that would have otherwise been missing. The findings on the research on stylistic elements of syntactic structure (Feng et al. 2012) provide novel, statistically supported insights into stylistic elements that have been computationally analysed. In the study ‘Stylistic features of case reports as a genre of medical discourse’ by Lysanets et al. (2017), the results revealed that a variety of important stylistic features of medical case reports possess features that distinguish them from other genres. The findings of the study conducted by Guy et al. (2018) suggest that there are many challenges concerning empirical research on the role of authorial intention in judgements about literary creativity and the current linguistic research in these areas shows that there is a need to establish programs for further research in understanding this important aspect of literary processing. The literature review also revealed findings on literature and linguistic creative stylistics (Farzand 2023); the findings show that creative stylistics is a bridge that connects the worlds of literature and stylistics. A study on the quantification of stylistic traits (Bagawandas and Manimannan 2004) highlighted a statistical technique for identifying the special stylistic features of authors.

In addition to the above-mentioned research, there is research pertaining to linguistic-stylistic analysis. For example, in the study by Candria (2019), the findings show that literature is not treated as an independent text which can be separated from its environment but rather as a discourse of natural language use which should be analysed by considering two important elements: the literary text and the sociocultural context of the work. The results of a study (Liman et al. 2018) on the linguistic stylistic analysis of the creative writing of undergraduates showed that words and expressions from the authors’ first language were used with great skill and the lexical items were loaded with words reflecting their preferences. Linguistic-stylistic analysis on aspects of meeting research (Orebe 2021) reports that the minutes of a meeting, being a report of speech activities, are normally in the past tense, the mood is predominantly declarative, and sentences are selected to reflect a narrative piece. Research findings on newspaper and opinion piece reporting (Agu 2015; Carretero et al. 2024) reveal that the lexicogrammatically features of medical case reports differ from research articles and other scientific genres, for unlike objective reportage, they provide a personal ‘storytelling’ description, whereas journalists report objectively, distancing themselves from the stories. Considering this review of literature, it is apparent that extensive research on stylistic analysis of varied texts has been carried out which has resulted in significant scholarly reasoning. However, bearing in mind the research questions and the stated objectives of this study, it is imperative to zoom in to an overview of the existing scholarly published works that are closely focused on this study.

The focal point of this study is to explore the efficacy of stylistic sentences as stylistic techniques in creative writing, with specific reference to the isiXhosa novel Ukhozi Olumaphiko. The review of the literature that is most relevant to the objectives of this study is not readily apparent. For example, the findings of the study on the analysis of the novel Sons and Lovers (Niazi 2013) and the analysis of Two Post-apocalyptic Novels (Boyne 2009) indicate that language resources are an essential part of the meaning of the novel and that linguistic observations, stylistic analysis, and literary interpretation go hand in hand. The scholarly research on the semantic stylistic features of initial and final sentences (Zhusunova et al. 2022) and on the theory of composite sentences (Usarov et al. 2020) and complex sentences (Almutalabi 2018; Sokolova and Kolyago 2020; Wiaam 2020; Babiker and Ahmad 2023) established that the beautification techniques used in figuratively-expressively constructed initial and final sentences have a special function in figuratively conveying to the reader various situations related to man and society and other phenomena. Concerning the study of composite sentences, there are shortfalls in terms of general stylistics. The findings on the use of complex sentences in the novel Coover’s Chicago Cryptogram are that subordinate clauses have a higher ratio, and the most complex sentences are used to describe characters and their activities.

As this study is on the efficacy of stylistic sentences with refence to cumulative—also known as loose—sentences, periodic sentences, and balanced sentences, it becomes paramount to explore scholarly research concerning them (cumulative, periodic, and balanced sentences). It must be noted that there has not been much research carried out concerning stylistic sentences in literature. On cumulative sentences, sentences which have a structure that allows writers to present a core idea and then elaborate on it with supporting information, the research conducted on them and the results show that they are more informative (Dinges 2024) than that related to periodic sentences, which are characterized by delaying the completion of the main clause until the end, creating a sense of suspense and emphasis. The study on periodic and balanced sentences by Voigit (2003) based on poetry reveals that these types of sentences are useful in creating musical sounds, that is, rhythm and melody. Balanced sentences are sentences which have a balance of information, governed by subject and predicate plus sound and sense (Bunn 2017). Research on the use of stylistic sentences in isiXhosa literary text has only been conducted by Jaxa (2013) in an unpublished dissertation. Thus, this review of the literature highlights the gaps in the analysis of the use of stylistic sentences in the study of isiXhosa literary texts. The study reported in this article therefore seeks to address the gap by asserting both the effect of the stylistic sentences in a narration and that it is crucial to carry out stylistic analysis of the text to gain a deeper understanding of its meanings, themes, and other narrative features. This review of the literature also indicates that there is little existing research on stylistic sentences in isiXhosa creative texts. The efficacy and usefulness of stylistic sentences in isiXhosa literary texts will be analysed in depth, with the intention of offering a fresh perspective on the stylistic analysis of isiXhosa literary texts.

2. Materials and Methods

The objective of this study is to identify the types of stylistic sentences that the author has used in the novel Ukhozi Olumaphiko and to highlight their effectiveness in enhancing the narrative features and their impact in engaging the reader. To achieve that, the study employed literary stylistics as its theoretical framework to analyse the use of stylistic sentences in Ukhozi Olumaphiko. Stylistics is the study of literary texts in light of the scientific findings of linguistics. Although stylistics as a field of study was developed in the middle of the twentieth century by Leo Spitzer, Rene Wellek, and Austin Warren, it is rooted in rhetoric studies based on the work of Aristotle and others, which focused on the authority of the speaker, the emotional state of delivering the speech, and the logical organization of language (Stockwell 2015).

Literary stylistics, a branch of stylistics, offers a comprehensive approach to examining the linguistic features of texts, enabling nuanced understanding of the author’s purpose and the response of the reader. It is the branch of linguistics that explores how literary authors use language to create distinctive styles, convey meanings, evoke emotions, and engage readers. According to Dan (1995), literary stylistics is a discipline that mediates linguistics and literary criticism. Its concerns can be broadly defined as verbal choices motivated by thematic and artistic reasons. The relevance of literary stylistics for this study stems from the fact that this study not only focuses on language used in the text but also on imagery and syntax, which are essential in creating stylistic sentences. In addition to that, literary stylistics assists in uncovering the purpose and meaning behind the author’s use of sentences, shedding light on their impact. As Herrmann et al. (2015) notes, stylistic analysis has moved far beyond the boundaries of close reading and can provide accountable explanations for the claims it puts forward.

To achieve nuanced understanding of the efficacy of stylistic sentences in the novel Ukhozi Olumaphiko, this study used content analysis, adopting a mixed-method design, integrating qualitative and quantitative data collection methods and analysis. According to Stephens (2015), content analysis is significant because of its focus on literature as representations of human experience and the fact that such research involves asking higher-order questions that lead researchers to select methodological tools. As a method, content analysis is unique in that it has both qualitative and quantitative methodologies and it can be used in an inductive and deductive way (Neuendorff 2002; Krippendorff 2004). The relevance of the content analysis in this study stems from the fact that, in content analysis, the information is analysed by breaking it up into conceptual chunks that are then coded or named. In this study, content analysis combining both qualitative and quantitative methods has been utilized in identifying, coding, and analysing the stylistic sentences used in the isiXhosa novel Ukhozi Olumaphiko. The benefits of combining literary stylistics and content analysis in this study are in the integration of the in-depth analysis of language and literary devices with systematic examination of the content.

2.1. Qualitative Content Analysis

This study attempted to look at the style and language of the novel, paying attention to aspects such as the structure and grammar of the sentences used in the novel. The different stylistic sentences that the author employs in the novel Ukhozi Olumaphiko were identified and interpreted against the backdrop of the thematic contexts and meanings of the text, Ukhozi Olumaphiko. Twenty-seven stylistic sentences were purposefully sampled, guided by the research questions, and are sufficient to address the research questions. This is in accordance with what Adejare (2013) points out that, in general, a stylistic approach can be utilised to analyse both oral and written texts, and this approach involves the identification of linguistic features of the text concerned.

2.2. Quantitative Content Analysis

To facilitate analysis, the twenty-seven sampled stylistic sentences were coded using integer coding and analysis as a numerical method. Stylistic sentences were classified and numerical values given based on themes and patterns. The categorization was based on the author’s interpretation of the meanings and narrative purposes of the stylistic sentences. The use of integer coding in this study ensured precise and efficient data analysis.

2.3. Data Analysis

The twenty-seven sampled stylistic sentences were systematically analysed based on their literary purpose and the meanings they foregrounded the isiXhosa thriller novel Ukhozi Olumaphiko. The coded data was then synthesised and interpreted based on the context of the novel. The intent of the synthesis is to highlight the usefulness of stylistic sentences in augmenting themes in isiXhosa literary texts.

2.4. Expected Outcomes

The methodical content analysis aimed to understand the literary role of stylistic sentences in the narration of the novel Ukhozi Olumaphiko. In addition, we aimed to accentuate the thematic relevance of stylistic sentences in conveying meanings and reinforcing themes and other narrative features, as well as examining how stylistic sentences have contributed to the overall literary style and aesthetics of Ukhozi Olumaphiko.

3. Results

This study aimed to investigate the effective deployment of stylistic sentences, examining their functional role in the novel Ukhozi Olumaphiko in shaping narrative meaning and their capacity to inform reader response. In addition to that, we aimed to identify the types of stylistic sentences that are utilised by the author in the novel Ukhozi Olumaphiko, and to manifest the potency of each type of stylistic sentence in enhancing narrative features of a text and their impact to the readers. Twenty-six stylistic sentences were sampled, comprised of balanced sentences, cumulative sentences, and periodic sentences. The stylistic sentences were explicated and categorised according to their types, their occurrence in the plot stages of the novel Ukhozi Olumaphiko, and their impact and effect in the story. The key findings are presented in

Table 1. The integer coding of stylistic sentences in the novel Ukhozi Olumaphiko.

Stylistic Sentence	Type	Plot Stage in the Novel	Literary Impact and Effect
‘Lo mbuzo wezi nkewu ndisoloko ndiwuphepha kuba ukuwuphendula kwam kungahle kuvuse izilonda esele ziphola.’ p. 2 (I always avoid answering this question asked by these youngsters because answering it could refresh the old wounds that have long healed.)	2	Act 1 Beginning	-symbolism and flash-forward. -creating intrigue. -setting the tone for the entire novel.
‘Emnyango kwakuqingqe izigxegela ezibini zoomnqay’ ulambile zoonongqayi, imipu ijoliswe nzoo apha esifubeni kum.’ p. 2 (At the door stood two big belligerent police officers, the guns pointed straight to my chest.)	3	Act 1 Beginning—the hook	-introducing the antagonist. -descriptive epithet. -creates imagery and symbolism. -raises questions; incites fear, tension, and curiosity in the readers.
‘Kule yam yona indawo iBholo kwaQaka, apho yayingenzanga mkhethe intambo yengcinezelo ukukrwitsha, yayingumhlaba otyebileyo woqhushululu.’ p. 5 (In my place, Bholo at Qaka, where the tight rope of oppression spared no one, was a place fertile for riots.)	3	Act 1 Beginning—the hook	-creating the setting. -preview of conflict and mystery.
‘Ingasuswanga ingxowa entloko, lwavalwa ucango mbakra.’ p. 12 (Without removing the sack from the head, the door was closed.)	3	Act 1 Beginning—the inciting incident	-suspense. -setting the central conflict into motion. -setting the pace of the story. -evokes empathy and propels the story forward.
‘Lahamba ixesha, bahamba nabo ubusuku, kuthe cwaka ngendlela eyoyikisayo.’ p. 15 The time went by, the night went by, it was quiet in a frightening way.)	1	Act 1 Beginning—first plot point	-imagery and symbolism -suspenseful situation: fear begins to affect the protagonist. -creating a sombre mood.
‘Ndivele edolweni kanye nokudunguka kwabo, beza kum bengumkhosi, emva kwabo zisitsho izithonga zemipu ezazivela kwizithuthi zamapolisa zimi ngaphaya kocingo olurhangqe isikolo esi.’ p. 20 (I came through a curve as they were dispersing, they charged towards me in a big group, behind them there were bangs of gun shootings from the police vans that were outside the school fence.)	2	Act 1 Beginning—first plot point	-imagery. -raising the stakes high. -defining the character’s goals.
‘Ndibone ngaxesha nye iqela lamapolisa lifunza kubo lisukelisa, iziqwayi ezimnyama kunye neemvubu ziphakanyiselwe esibhakabhakeni, zithi apho zihle khona ziqengqe ugodo.’ p. 20 (I saw at the same time a group of police officers charging towards them chasing them, holding up their big sticks and sjamboks.)	3	Act 1 Beginning—first plot point	-hyperbole and imagery. -police motif. -reinforcing the themes of police brutality. -influencing the conflict.
‘Ndigxadazele kwakabini kathathu, gxanya gxanya ndolula imilenze, ndadlula kwababephambi kwam ngathi bamile, emva kwam ingunkxwe wezikhalo ekhatshwa zizithonga ezazisitsho zingenzi siqabu.’ p. 21 (I staggered two and or three steps, I walked with strides stretching my feet, and passed those who were in front of me as if they are standing.)	2 &3	Act 1 Beginning—first plot point	-imagery. -pacing. -character associations. -creating the urgency. -creating fear for both the character and the reader.
‘Emva kwesidala ingumpu nembokotho, imbokotho nemvubu, kwabakho ipolisa elichanwa entloko, gqum, geqe phantsi lalutywantsi.’ p. 22 (After a long time of the hail of bullets and stones, stones and sjamboks, there was a police officer that was hit on the head with a stone, and he fell down and couldn’t move.)	3	Act 1 Beginning—first plot point	-imagery. -suspense: new developments that raise the stakes. -pacing. -creating fear in both the character and the reader.
‘Sasiyaluzela isixeko, iyaluzela nengqondo yam.’ p. 22 (The city was a commotion, and my mind was confused and in turmoil.)	1	Act 1 Beginning—first plot point	-imagery and hyperbole. -character reaction: the protagonist is affected by the conflict physically and mentally. -suspense.
‘Ndaqina isibindi ndaya kudlula koonongqayi ababemi ngaphandle apha esangweni, berhuqa imipu, emva kwam kwalandela abafo ababini endandibazi kakhulu, ndibazela ebholeni yeqakamba neyombhoxo.’ p. 35 (I became bold and went to pass by the police officers that were standing outside the gates, dragging their rifles, behind me were the two men whom I knew very well, knowing them from the cricket sport and rugby.)	2	Act 2 Middle—first pinch point	-imagery and symbolism. -increasing sense of danger for the protagonist. -fear and anxiety for the reader.
‘Yandifikela ngaloo mzuzu into yokuba mnye kuphela umhlobo endinaye, ndim.’ p. 38 (It dawned to me at that moment that there is only one friend that I have and that is me.)	3	Act 2 Middle—first pinch point	-planting the seeds of doubt: the character suspects everyone. -isolation of the protagonist by the antagonist. -suspense escalates.
‘Andilibazisanga, nyubelele ndaphuma emotweni, lakatyu kucingo lommelwane, nca ngodonga endaweni enethunzi.’ p. 44 (I did not delay, I sneaked out of the car, jumped quickly the neighbour’s fence, hid with the wall in a dark space.)	1	Act 2 Middle—first pinch point	-imagery. -fast pace. -protagonist discovers what the antagonist wants. -character development.
‘Ndaphatha kunkcunkca, kuqhuqha, kugxanya, kubaleka, ndazibona se ndivela phezu kwexhalanga.’ p. 49 (I would be trotting, trotting faster, striding, running, until I find myself looking above Xhalanga.)	1	Act 2 Middle—first pinch point	-imagery. -character reactions: fear affects the protagonist physically and mentally. -empathy; fear shapes the protagonist’s decisions.
‘Mna ndithi amaxhwelana la, ayesithi ukuba ndikhe ndema, abe ngathi ayaphefumla ukuqaqamba, kufuneke ukuba ndizicenge ukusuka.’ p. 52 (I tell you this, my ankles would feel as if they were breathing the moment I would stand, and I would have to move cautiously and with care.)	2	Act 2 Middle—first pinch point	-imagery. -physical and emotional pain. -empathy.
‘Akazange abekho umntu wokubala izidumbu kuba naye esakhe sasisenanini.’ p. 56 (There was no one to count the dead bodies because even theirs was part of them.)	3	Act 2 Middle midpoint	-hyperbole -death motif and symbolism. -theme consistency. -conflict escalation.
‘Kwisikhululo seeteksi yayisisisiqhoqhobela, ingengomntu izimbovane, nkungu nelanga yakwabani.’ p. 57 (In the taxi rank there were too many people, as many as ants, a mob scene.)	2	Act 2 Middle—second plot point	-imagery. -the protagonist needs to overcome fear -character development. -suspense escalation.
‘Ndaqwalasela ezinyaweni, izihlangu zazinqongo ligazi ingakumbi esasekhohlo’ p. 101 (I looked at my feet for a while, the shoes were full of blood, especially the left one.)	3	Act 2 Middle—second plot point	-plot twist and turn. -layers of deception. -stakes raised to the highest point. -characters revealed. -intrigue and suspense.
‘Enye ingxaki endandikuyo yeyokuba elokishini, ndandingekalifumani ithuba lokuhlamba igama lam ebumpimpini, ndiyiyo ke emehlweni esizwe.’ p. 107 (Another problem that I find myself in, is that in the township I had not yet got the chance to cleanse my name from being seen as a sellout and so I was still one in the eyes of the nation.)	3	Act 2 Middle—second plot point	-plot twist. -layers of deception. -stakes raised to the highest point. -intrigue, suspense, and empathy.
‘Amanye ayeqabela kuloliwe ngeli xa amanye ayebaleka phantsi esiya ngasemsileni.’ p. 139 (Some were climbing onto the train while others were running on the ground towards the tail of the train.)	1	Act 2 Middle—second plot point	-creates fast pace. -motifs and symbolism. -fear at the personal level. -character and deception. -more questions are raised. -tension and fear escalated in the protagonist and the reader.
‘Ingqondo yam yahlulelana kubini, ikho ethi mandihambe ngeenyawo ndifune indawo yokuncathama kude kuphinde kuhlwe, kanti enye yayisithi ukuba ndifuna ukusinda, mandiye kwasetreyinini ndenze amacebo alusizi, hleze kuthi kanti namapolisa sele ehambile.’ p. 140 (My mind was divided into two, part of it was telling me that I must walk on foot and seek a place to hide my self until its dark, yet the other one was telling me that, if I want to escape danger, I must go back to the train and strive to make means, it might happen that the police have left.)	1	Act 2 Middle—second plot point	-suspense and internal conflict: the protagonist is experiencing fear. -inner doubts. -to the confrontation of the antagonist.
‘Ngelo xesha iindlathi zam zazingathi ziza kuqhawuka kukuziqinisa, uvalo lungongoza ngathi luza kuphuma ngomlomo.” p. 157 (At that time my jaws were as if they were going to break as I have tightened them, my heart beating fast and loud as if it would come through my mouth.)	3	Act 3 End—crisis	-protagonist must choose between succumbing to fear or finding strength and courage. -preparing for the final showdown. -themes consistency. -anxiety and fear engulf the reader.
‘Ndazifumana ndirhangqiwe okwenkatyana eza kufakwa idyokhwe.’ p. 158 (I found myself circled, as a young ox that is to be harnessed with a yoke.)	2	Act 3 End—crisis	-twist and turn. -the protagonist figures the solution to the big problem. -suspense is at its peak. -fear and uncertainty in the reader’s mind, figure the way out.
‘UFriday usematyaleni…ndiyijaji echophele loo matyala.’ p. 216 (Friday is in court facing charges…I am the judge to pass judgement on his court case.)	2	Act 3 End—climax	-suspense and conflict have reached the highest peak. -protagonist faces off against the antagonist. -antagonist is at the mercy of the protagonist.
‘Ndandisithi ndakuqwalasela kumabonakude ndifuna ukubona iinduma zemfazwe kuloo magorha ndifike echengezelisa izidlele kukutyeba.’ p. 208 (As I would be gazing at the television with the intention of seeing war scars to the heroes, I would see them having plumpy faces instead, because they were fat.)	3	Act 3 End—resolution	-justice prevails. -the readers see the growth and change in the protagonist.

Codes: 1—balanced sentence; 2—cumulative sentence; 3—periodic sentence.

. It must be noted that Table 1 is divided into four columns as follows: The first column from the left consists of the stylistic sentences extracted from the isiXhosa novel Ukhozi Olumaphiko, with their English translations in brackets. The second column is of the codes that indicate the type of stylistic sentence. Code 1 indicates a balanced sentence code 2 indicates a cumulative sentence, and code 3 is for a periodic sentence. The third column indicates the plot stages of the thriller novel where these stylistic sentences are utilized, and the last column indicates their impact on the narrative and the effect on the reader.

• The three most used stylistic sentences were identified, interpreted, and coded as follows: (a) balanced sentence, (b) cumulative sentence, (c) periodic sentence, (d) occurrence in stages of the plot, and (e) impact and effect.
• Of the 3 types of stylistics sentences, the most used are periodic sentences as they make up 12 out of the 26 sampled, followed by the cumulative type, accounting for 8 out of the 26 sampled, and the least used is the balanced type of sentence.
• In Act 1, in the first plot point stage, all 3 types of stylistic sentences are employed, but for the hook, the prominent types are periodic sentences and cumulative sentences.
• In Act 1, in the plot stage, the inciting incident is revealed using a periodic sentence.
• In Act 2, in the first pinch point stage, all 3 types of stylistic sentences are employed, but the usage of balanced sentences increases.
• In Act 2, in the midpoint stage, all 3 types of stylistic sentences are employed in an almost balanced way.
• In Act 2, in the second plot point stage, all 3 types of sentences are utilised almost equally.
• In Act 3, in the crisis, up to the climax and resolution stages, the two prominent sentence types are periodic and cumulative sentences.

4. Discussion

In the novel Ukhozi Olumaphiko, which is an isiXhosa thriller novel, the author has skilfully used different types of stylistic sentences, such as cumulative, periodic, and balanced sentences. In Table 1, it is evident that the different stylistics sentences have been used for different meanings, as different literary devices, and for different literary purposes. It should be noted that these three types of stylistics sentences, cumulative, balanced, and periodic sentences, are used mostly in the whole novel, as they are part of the author’s style of writing. In this study, only those that are outstanding in terms of their literary impact on the story as a thriller have been selected.

In the beginning stage of the story in Ukhozi Olumaphiko, which is Act 1, to set the tone and intrigue, the author uses a cumulative sentence that encapsules symbolism and flash-forward. The intent is to set the tone and create anticipation for the reader. In creating the hook, which is a crucial part of the thriller, periodic sentences are prominently used, thus creating imagery, creating a setting that hints at the seeds of conflict, and therefore evoking tension, fear, and curiosity to the reader. In the hook part of the beginning stage, a periodic sentence is also used to introduce the protagonist Mfazwe as a unique and compelling character, and the intention is to persuade the reader to fall in love with this protagonist and join forces with him from the onset of the story. The peculiar way in which the author uses language and creates these periodic sentences in the beginning succeeds in keeping the reader hooked and creating questions in their mind, which is the intended effect (Alatawi 2021).

To reveal the inciting incident which sets the central conflict of the novel in motion, the author utilises a periodic sentence. This shows the artistry of the author as the sentence creates suspense and elicits the reader’s curiosity to know what would happen, while the last part of the periodic sentence sends the reader into a state of shock and anxiousness. The protagonist is shocked at the same time. Consequently, this periodic sentence used to reveal the inciting incident highlights the important theme of the story, which is ‘political freedom is achieved through sweat and blood’. This, then, shows the importance of style in creating meanings in a literary text (Heumer 2016). One would argue that the figurative devices have an impact in creating meanings, but the art of arranging the words in a sentence shifts the meaning and alters the focus of what is conveyed to the reader.

In the Act 1 plot point stage, the cumulative, balanced, and periodic sentences are used almost in a harmonious way, to achieve different purposes, as the conflict increases in the story. Cumulative sentences bring character associations, indirectly portraying the protagonist Mfazwe as a unique person; the balanced sentences draw the reader into the physical and mental state of the protagonist, revealing his reaction to the conflict. As such, an escalating suspenseful and sombre mood are created, leading to fear and curiosity for the reader. The periodic sentences bring in the police motif in a manner that reinforces the themes of this thriller novel, creates urgency, speeding the story forward, and heightens the suspense, consequently moving the conflict to the second plot stage, that of Act 2. In this part of the story, the author skilfully utilises these three types of stylistic sentences for character portrayal, conflict escalation and its impact to the protagonist, and theme reinforcement. This indicates how language as a resource is an essential part of the meaning of the text and the literary interpretation and stylistic analysis should correspond to this (Boyne 2009; Niazi 2013).

In the middle stage of the plot, that is, Act 2 first pinch point, the author utilises the stylistic sentences in an almost equitable way, as the conflict continues to escalate. Cumulative sentences are used to reveal the sense of increasing danger for the protagonist, evoking empathy from the reader by increasing the physical and emotional pain of the protagonist. The balanced sentences convey the character reactions of the protagonist as the antagonist seems to gain more ground; and the cumulative sentences also reveal the effects of fear in the protagonist. The periodic sentences show the seeds of distrust and isolation forming in the protagonist, which is one of the important features of a thriller. In this stage of the story, the author utilises the three stylistics sentence types to escalate conflict and suspense by raising the stakes. The escalation of suspense creates more questions in the mind of the reader, and the author creates more tension to fuel suspense. Suspense can provoke an intellectual and affective response in the reader (Dutta-Flanders 2017).

In Act 2, in the second plot point stage, the balanced and periodic sentences are usable and useful in intensifying suspense, and the periodic sentences are used to reveal plot twists, which are very vital in thriller novels. The focus changes used in the periodic sentences and the power of the balanced sentences to grab the reader’s attention facilitate the intention of the author to consume the reader’s mind with fear and empathy as they reveal the inner doubts in the mind of the protagonist. The plot twists raise more questions and reveal layers of deception, and through all this, the author skilfully raises the stakes higher towards the third stage of the plot. The employment of periodic and balanced sentences is very crucial and enhances the features of this plot stage in a thriller novel. This concurs with what Adejare (2013) noted about stylistics, namely that it involves the identification of linguistic features of the text concerned.

In the end stages of the novel, which is Act 3, the crisis stage, the author continues to intensify suspense and propel the conflict to its highest peak by utilising periodic sentences prominently, with cumulative sentences to create the final plot twist leading to the climax. The emphasis of the periodic sentences is on the mental state of the character and him having to make final decision, to succumb to the pressure or to move forward as he faces more dangers on the way to eMngazi. The conflict is at its highest peak, and the author, using stylistic sentences, further intensifies the suspense for the last time, engulfing the reader with intense fear and anxiety before the climax and finally the resolution.

The results demonstrate the effectiveness of the stylistic sentences and that they are noteworthy for their ability to convey complex ideas and in creating the overall impression of the text. The three types of stylistic sentences utilised in the novel Ukhozi Olumaphiko, namely cumulative, balanced and periodic sentences, are useful in capturing the reader’s attention in the crucial parts of the story in their different ways. Apart from enhancing the engagement, in the thriller novel, where pace, suspense, hook, and intrigue are vital, the author accomplishes that by utilising the periodic sentences conspicuously and artistically, directing the reader to the messages and meanings that the author intended to emphasise. In these three types of stylistic sentences, the balanced sentences are listed compared to the periodic and cumulative sentences. What stands out in the novel Ukhozi Olumaphiko is how the balanced sentences are skilfully employed in the parts of the story where the author intends to create an intense atmosphere, depicting the mental state of the protagonist and the internal conflict. In some parts of the story, balanced sentences are also used to create suspense and to inflict fear on the reader. The cumulative sentences, on the other hand, are striking when the author depicts character development, creating conceptual, perceptual, and emotional types of imagery that are very crucial in keeping the events of the story and the actions of the characters alive in the mind of the reader and consequently arousing their interest. Overall, the different types of imageries in the stylistic sentences indicate the artistry of Saule in using the language and exposing his style as an author. The stylistic sentences used in the novel not only create thematic resonance and emotional resonance by evoking emotions of the reader but expose the Saule, the author of the novel, as a master in using style in a manner that reflects his unique voice as an author and in shaping the reader’s interpretation and understanding of the text. This concurs with what Verma (2015) notes, that stylistic approaches (including the analysis of stylistic sentences) are effective in teaching literature for they facilitate the examination and evaluation of the language in the text for a better interpretation of meanings. In conclusion, not undercutting the power of imagery, which is one of the most heavily employed literary devices in this novel, the influence of the cumulative, balanced, and periodic stylistic sentences in creating and enhancing meanings and themes and foregrounding the features of Ukhozi Olumaphiko as a thriller can never be understated.

5. Conclusions

This research foregrounds the efficacy of stylistic sentences in creating and enhancing meanings and reinforcing the themes in a creative work and, in setting the tone, the pace, and the atmosphere, and in engaging the reader through suspense and intrigue. In addition to that, this study reveals the literary voice of Saule, the author, and exposes Saule as one of the most prolific writers in the isiXhosa language. This is evident in how Ukhozi Olumaphiko has emerged as thriller novel, a rare genre in the isiXhosa language, but maintained the authenticity of the isiXhosa language and the traditional features of isiXhosa novels. The usability of stylistic sentences in creative writing is highlighted by their ability to encapsulate other literary devices like hyperbole, imagery, and symbolism, and they transcend these in igniting the author’s artistry and the interest of the reader. Other studies can explore the use of stylistic sentences in other subgenres of novels other than thrillers. The limitations of the study rest in the fact that the analysis was conducted in only one isiXhosa novel and in a genre that is not common amongst isiXhosa novels. Therefore, studies carried out utilising a larger collection may validate or challenge the findings of this study, which may result in further insights into the noteworthiness of stylistic sentences as a technique in creative work.