上段引文取自 W.C.威廉斯（William Carlos Williams）的Autobiography。作者的风格标记也很明显：短句反复出现，句子之间的联接紧凑，不存在内隐信息，文句平易，意思明晰，节奏很强，反映一种高速度的生活节拍，是比较典型的分析性风格（analytic style）。（如果我们将这段引文与福克纳的文体作一对比，即可见两种风格色调是何等迥然不同了：

It looked and towered in his dreams before he even saw the unaxed woods where it left its crooked print, shaggy, huge, red-eyed, not malevolent but just big -too big for the dogs which tried to bay it, for the horses which tried to ride it down, for the men and the bullets they fired into it, too big for the very country which was its constricting scope. (The Beur)

福克纳在这一句中共用了近七十个字，其中包含六个从句，层层环扣，节奏徐缓悠长，使人产生举步维艰的感觉。这是一种典型的综合性描述体，其章法标记是很显然的。

下段引文出自James Joyce的名著，文中显示时、空顺序的错乱：

a quarter after what an unearthly hour I suppose they're just getting up in China now combing out their pigtails for the day well soon have the nuns ringing the angelus they've nobody coming in the spoil their sleep except an odd priest or two for his night office the alarm clock next door at cock stout clattering the brains out of itself let me see if I can doze off 1 2 3 4 5 what kind of flowers are those they invented like the stars the wall paper in Lombard street was much nicer the apron he gave me was like that (Ulysses)

上述行文没有标点，是一种潜意识记录，其明显特征是思维与时空顺序的交织和错乱，因而脱出了一般的语法和表现法常规。表现法是一个系统，问题非常复杂，常常涉及到语言传统和民族心理。上面说的只是几个主要方面。

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