А Guide to Stylistics

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ФЕДЕРАЛЬНОЕ ГОСУДАРСТВЕННОЕ БЮДЖЕТНОЕ ОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ ВЫСШЕГО ПРОФЕССИОНАЛЬНОГО ОБРАЗОВАНИЯ ГЛАЗОВСКИЙ ГОСУДАРСТВЕННЫЙ ПЕДАГОГИЧЕСКИЙ ИНСТИТУТ им. В. Г. Короленко

М.В.Салтыкова

А Guide to Stylistics методическое пособие для семинарских занятий по стилистике английского языка

Глазов 2015 1

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Салтыкова М.В. А Guide to Stylistics: методическое пособие для семинарских занятий по стилистике английского языка / М.В.Салтыкова: Глазов. Гос. пед. ин-т - Глазов: ГГПИ, 2015. - с.

Авторы: канд. пед. н., доцент кафедры иностранных языков ГГПИ М.В.Салтыкова Рецензенты: канд. филол. наук, доцент кафедры иностранных языков ГГПИ М.В.Максимова, канд. филол. наук, старший преподаватель кафедры иностранных языков ГГПИ М.А.Кропачева

Данное методическое пособие представляет собой сборник теоретических материалов и практических упражнений по стилистическим средствам английского языка, содержит дополнительный материал для стилистического анализа художественных текстов на английском языке. Предназначено для студентов факультетов иностранных языков педагогических вузов.

М.В.Салтыкова, 2015 Глазовский государственный педагогический институт, 2015

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Пояснительная записка Данное методическое пособие предназначено для студентов 3-5 курсов английского отделения, изучающих курс стилистики по специальности «050303.65 – Иностранный язык». Целью данного пособия является подготовка студентов к стилистическому анализу художественного текста. Для этого в пособие включены: краткий теоретический обзор по основным видам английской лексики (литературному и разговорному пласту) и характеристика

основных

стилистических

синтаксических,

лексико-синтаксических

и

средств

(лексических,

фонографических).

Весь

теоретический материал подкреплен практическими заданиями с целью формирования у студентов навыка определения стилистических средств в художественных текстах.

Пособие содержит дополнительный материал,

который призван помочь студентам сделать полный стилистический анализ художественного

текста,

и

примеры

стилистических

анализов

художественных текстов английских и американских авторов, выполненные студентами в ходе изучения курса стилистики.

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Contents:

STYLISTIC DIFFERENTIATION OF THE ENGLISH VOCABULARY….3 LEXICAL STYLISTIC DEVICES…………………………………………..8 SYNTACTICAL STYLISTIC DEVICES…………………………………..13 LEXICO-SYNTACTICAL STYLISTIC DEVICES………………………..18 GRAPHICAL AND PHONETIC EXPRESSIVE MEANS…………………22 THE LIST OF STYLISTIC DEVICES……………………………………..25 ADDITIONAL MATERIAL TO HELP STUDENTS IN ANALYSING THE TEXT…………………………………………………………………..26 EXAMPLES OF STYLISTIC ANALYSIS…………………………………42 BIBLIOGRAPHY…………………………………………………………...53

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Stylistic differentiation of the English vocabulary

1. Literary stratum of words

1. The first subdivision of literary words is presented by archaisms. Their main types are: archaisms proper, i.e., antiquated or obsolete words replaced by new ones (e.g., anon – at once; haply – perhaps; befall – happen, etc.); historical words, i.e., words denoting such concepts and phenomena that have gone out of use in modern times (i.e., knight, spear, lance, etc.); poetic words, i.e., archaic words with the fixed sphere of usage in poetry and elevated prose (e.g., woe – sorrow; hapless – unlucky; staunch – firm; harken – hear, etc.); morphological (or partial) archaisms, i.e., archaic forms of otherwise non-archaic words (e.g., speaketh, cometh, wrought, brethren, etc.). the main stylistic function of archaisms is to recreate the atmosphere of antiquity. Not seldom though archaism occurring in inappropriate surroundings are intentionally used by the writer to cause humorous effect. 2. The second subdivision of literary words is presented by barbarisms and foreign words which are used mainly to supply the narrated events with the proper local colouring and to convey the idea of the foreign origin or cultural and educational status of the personage. 3. The third group is made by terms. As it is well known their main stylistic function is to create the true-to –life atmosphere of the narration, but terms can also be used with a parodying function, thus creating humorous effect. 4. Neologisms comprising the fourth item offered for the students’ investigation are represented only by the group of stylistically coloured individual neologisms (or nonce-words, or occasi0onal words), which are created on the basis of the existing word-building patterns but have validity only in and for the given context. Usually thy are heavily stylistically 5

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loaded, their major stylistic functions being the creation either the effect of laconism, terseness and implication or that of witty humour and satire.

2. Colloquial stratum of words

1. Slang is the most extended and vastly developed subgroup of non-standard colloquial layer of the vocabulary. Besides separate words it includes also highly figurative phraseology. Occurring mainly in dialogue, slang serves to create speech characteristics of personages. 2. Among vulgarisms, the second subdivision to identify and analyse, we should differentiate those, which, through long usage, have lost their abusive character and became mere signals of ruffled emotions, and those which preserved their initials characteristics and serve to insult and humiliate the addressee of the remark or to convey the speaker’s highly negative evaluation of the object in question. The first have lost much (or all) of their shocking power, became hackneyed and moved close to standard colloquial words (cf. Russ. “чертовски”, or Engl. “devil”) while the letter, which may be called vulgarisms proper comprise the main bulk of this vocabulary group. 3. Both subgroups of jargonisms are functioning in limited spheres of society. The difference lies in the character and causes of limitation: professional jargonisms, or professionalisms, circulate within communities joined by professional interests and are emotive synonyms to terms; social jargonisms are to be found within groups characterized by social integrity, they are emotive synonyms to neutral words of the general word-stock. 4. Dialectal words, as it is well known, are introduced into the speech of personages to indicate their origin. The number of dialectal words and their frequency also indicate the educational and cultural level of the speaker.

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State the type and functions of words in the following sentences: 1. I was surprised to see Heathcliff there also. He stood by the fire, his back towards me, just finishing the stormy scene to poor Zillah, who ever and anon interrupted her labour to pluck up the corner of her apron, and heave an elegant groan… “Though art the man!” cried Jabes, after a solemn pause, leaning over the cushion. “Seventy times seven times didst thou gapingly contort thy visage – seventy times seven did I take council with my soul – Lo! This is human weakness: this also may be absolved! The first of the seventy-first is come. Brethren – execute upon him the judgment written. Such honour have all his saints!” (E. Bronte) 2. He kept looking at the fantastic green of the jungle and then at the orangebrown earth, febrile and pulsing as though the rain were cutting wounds into it. Ridges flinched before the power of it. The lord giveth and he taketh away, Ridges thought solemnly. (N. Mailer) 3. If manners maketh man, then manner and grooming maketh poodle.(J. Steinbeck) 4. “He had at this back a satchel, which seemed to contain a few necessaries, a hawking gauntlet on his left hand, though he carried no bird, and in his right hand a stout hunter’s pole!” (W. Scott) 5. “Tyree, you got half of the profits!” Dr. Bruce shouted. “You are my de facto partner”. “What that de facto mean, Doc?..” “Papa, it means you a partner in fact and in law,” Fishbelly told him. (R. Wright) 6. Yates

remained serious. “We have time, Herr Zippman, to try your

schnapps. Are there any German troops in Neustadt?”

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“No, Herr Offizier, that’s just what I’ve to tell you. This morning, four gentlemen in all, we went out of Neustsadt to meet the Herren Amerikaner”. (St. Heym) 7. And now the roof had fallen in on him. The first shock was over, the dust had settled and he could now see that his whole life was kaput”. 8. Philip Heatherhead, - whom we designate Physiological Philip – as he strolled down the lane in the glory of early June, presented a splendid picture of young manhood. By this we mean that his bony framework was longer than the average and that instead of walking like an ape he stood erect with his skull bulunced on his spinal column in a way rarely excelled even in a museum. The young man appeared in the full glory of perfect health: or shall we say? To be more exact, that his temperature was 98, his respiration normal, his skin entirely free from mange, erysipelas and prickly heat… At a turn of path Philip suddenly became aware of a young girl advancing to meet him. Her spinal column though shorter than his, was elongated and erect, and Philip saw at once that she was not a chimpanzee. She wore no hat and the thick capillary growth that covered her cranium waved in the sunlight and fell low over her eyesockets. The elasticity of her step revealed not the slightest trace of appendicitis or locomotor ataxia, while all thought of eczema, measls or spotty discoloration was precluded by smoothness and homogeneity of her skin. At the sight pf Philip the subcutaneous pigmentation of the girl’s face underwent an intensification. At the same time the beating of the young man’s heart produced in his countenance also a temporary inflammation due to an underoxydization of the tissues of his face. (St. Leacock) 9. She was a young and unbeautiful woman. (I. Show) 10.She was … doing duty of her waitresshood. (T. Howard) 11.For a headful of reasons I refuse. (T. Capote)

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12.Bejees, if you think you can play me for an easy mark, you’ve come to the wrong house. No one ever played Harry Hope for a sucker! (E. O’Neill) 13.“When he told me his name was Herbert I nearly burst out laughing. Fancy calling anyone Herbert. A scream, I call it”. (S. Maugham) 14.I steered him into a side street where it was dark and propped him against a wall and gave him a frisk. (E. O’Neill) 15.Suddenly Percy snatched the letter... “Give it back to me, you rotten devil.” Peter shouted. “You know damn well it doesn’t say that. I’ll kick your big fat belly. I swear I will”. (J. Braine) 16.“Look at the son of a bitch down there: pretending he’s one of the boys today”. (J. Jones) 17.“How are you, Cartwright? This is the very devil of a business, you know. The very devil of a business”. (A. Christie) 18.She came out of her sleep in a nightmare struggle for breath, her eyes distended in horror, the strangling cough tearing her again and again …Bart gave her the needle. (D. Cusack) 19.I’m here quite often – taking patients to hospitals for majors, and so on. (S. Lewis) 20.“I didn’t know you knew each other”, I said. “A long time ago it was”, Jean said. “We did History Final together at Coll”. (K. Amis) 21.“Hello, kid! Gee, you look cute, all right.” (Th. Dreiser) 22.“I say old boy, where do you hang out?” Mr. Pickwick responded that he was at present suspended at the George and Vulture. (Ch. Dickens)

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STYLISTIC DEVICES GUIDE TO STYLISTIC DEVICES

It is possible to single out the following main groups of SD: I.

lexical stylistic devices

II.

syntactical stylistic devices

III.

lexico-syntactical stylistic devices

IV.

graphical and phonetic stylistic means

LEXICAL STYLISTIC DEVICES Guide to lexical stylistic devices A. Stylistic Devices based on the interaction between the Logical and Nominal Meanings of a Word. Antonomasia is the use of a common noun as a proper name or the use of a proper name as a common noun.

B. Stylistic Devices based on the interaction between Two Logical Meanings of a Word Various objects, phenomena, actions, etc., may possess similar features, which fact provides the possibility of transference of meaning of similarity and association, i.e. metaphor. When likeness is observed between inanimate objects and human qualities, we speak of personification. When a group of metaphors is clustered the same image to make it more vivid and complete, we speak of a developed (sustained, prolonged) metaphor. Metaphor can be expressed by all notional parts of speech. 10

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Metonymy reflects the actually existing relations between two objects and is thus based on the contiguity. Since the types of relations between two objects can be finally limited, they are observed again and again, and metonymy in most cases is trite (cf. to earn one’s bread: to live by the pen; to keep one’s mouth shut, etc.). most cases of original metonymy present relations between a part and the whole and are known as synecdoche. Metonymy is expressed by nouns or substativized numerals. (“…She was a pale and fresh eighteen.”) Irony is the clash of two diametrally opposite meanings within the same context, which is sustained in oral speech by intonation. Irony can be realized also through the medium of the situation, which in written speech, may extend as far as a paragraph, chapter or even the whole book. Bitter, socially or politically aimed irony is referred to as sarcasm.

C.

Stylistic Devices based on the interaction between the Logical and Emotive Meanings of a Word. Hyperbole is a deliberate exaggeration of some quantity, quality, size, etc., big though it might be even without exaggeration. If it is smallness that is being hyperbolized (“a woman of a pocket size”), we speak of understatement, which works on identical principles but in opposite directions with hyperbole proper. Epithet, the most explicitly subjective SD, structurally falls into: a)wordepithets, i.e. epithets expressed by any notional part of speech in the attributive or adverbial function; b)two-step epithets, i.e., epithets supplied by intensifiers (“marvelously radiant smile”); c)syntactical epithets based on illogical syntactical relations between the modifier and the modified (“the brute of a boy”); d)phrase-epithets, including into one epithet an extended phrase or a completed sentence (”a-you-know-how-dirty-men-are look”); e)sentence11

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epithets, expressed by a one-ember (or one-word) sentence, which fulfils the function of emotive nomination. Semantic classification of epithets allows to differentiate among them metaphorical epithets, which are based on metaphor (“the iron hate”) and transferred ones, which transfer the quality of one object upon its nearest neighbour (“a tobacco-stained smile”) thus characterizing both of them. Oxymoron joins two antonymous words into one syntagm, most frequently attributive (“adoring hatred”) or adverbial (“shouted silently”), less frequently of other patterns (“doomed to liberty”), etc. Trite oxymorons (“pretty lousily”, “awfully nice” and other) have lost their semantic discrepancy and are used in oral speech and fiction dialogue as indicators of roused emotions.

D. Stylistic Devices based on the interaction between the Free and Phraseological Meanings of a Word (or between the Meanings of Two Homonyms). The main stylistic function of the indicated SD is to create humorous effect. Proceeding from the quality of the context and the structure of the SD we shall differentiate: Zeugma – the context allows to realize two meanings of the same polysemantic word (or a pair of homonyms) without the repetition of the word itself. Pun – the role of the context is similar to that zeugma, while the structure is changed, for the central word is repeated.

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Define lexical stylistic devices in the following sentences: 1. My mother was wearing her best grey dress and gold brooch and a faint pink flush under each cheek bone. 2. In the moon – landing year what choice is there for Mr. And Mrs. Average – programmer against poverty or the ambitious NASA project? 3. The leaves fell sorrowfully. 4. Calpurnia was all angles and bones, her hand was as wide as a bed slat and twice as hard. 5. Huck Finn and Holden Caulfield are good Bad Boys of American literature. 6. He thoroughly disliked this never-far-from-tragic of a ham Shakespearian actor. 7. For several days he took an hour after his work to make inquiry taking with him some examples of his pen and ink. 8. Cyrus Trask mourned for his wife with a keg of whisky and three old army friends. 9. They were under a great shadow train shed … with passenger cars all about and the train moving at a snail pace. 10.“You’re a scolding, unjust, abusive, aggravating, bad old creature!” cried Bella. 11. Ten – thirty is a dark hour in a town where respectable doors are locked at nine. 12. He was not sure whether he altogether approved of mascara and eye-shade of course, lipstick was all right. 13.I crossed a high tall bridge and negotiated at no man’s land and came to the place where the Stars and Stripes stood shoulder to shoulder with the Union Jack. 14.Babbitt respected bigness in anything: in mountains, jewels, muscles, wealth of words. 15.“You’ll be helping the police, I expect”, said Miss Cochran. “I was forgetting that you had such a reputation as Sherlock”. 13

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16.The human tide is rolling westward. 17.Lord G.: I am going to give you some good advice. Mrs. Ch.: Oh! Pray don’t. one should never give a woman anything she can’t wear in the evening. 18.He heard nothing. He was more remote than the stars. 19.She goes on fainter and fainter before my eyes. 20.A neon sign reads “Welcome to Reno – the biggest little town in the world”. 21.She gave Mrs. Silsburn a you-know-how-men-are look. 22.Mother Nature always blushes before disrobing. 23.About a very small man in the Navy. This new sailor stood five feet nothing in sea boots. 24.From the Splendid Hotel quests and servants were pouring in chattering bright stream. 25.The machine sitting at that desk was no longer a man; it was a busy New York broker. 26.Kept him because she knew ho would do anything in the world if he were paid to do it or was afraid not to do it. She had no illusions about him. In her business Joes were necessary. 27.She was a sparrow of a woman. 28.Their bitter-sweet union did not last long. 29.I remember nothing of her, except that the gangway through which the fairy frock brushed was held by labor at a penny an hour. 30.Dora, plunging at one into privileged intimacy and into the middle of the room. 31.I’ll give worlds to see you. 32.The ghost of a smile appeared on Soames’ face. 33. His disease consisted of spots, bed, honey in spoons, tangerines and nigh temperature. 34. “You nasty, idle, vicious, narrow-minded brute” cried the woman, stamping on the ground. 14

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35.I despise its very vastness and poorest great men the hastiest beggars, the plainest beauties, the lowest skyscrapers, the dolefulness pleasures of any town I saw.

SYNTACTICAL STYLISTIC DEVICES

GUIDE TO SYNTACTICAL STYLISTIC DEVICES

Syntactical SD deal with the syntactical arrangement of the utterance. It should be observed here that oral speech is normatively more emphatic than the written type of speech. Various syntactical structures deliberately employed by the author as SD for the creation of the proper effect, in oral speech are used automatically as a norm of oral intercourse and are not to be considered SD. Inversion deals with the displacement of the predicate (which is the case of complete inversion) or with the displacement of secondary members of the sentence (which is the case of partial inversion) and their shift into the front, opening position in the sentence. Rhetorical question, which is the statement in the form of the question, also presupposes the possible (though not demanded) answer: the positive form of the rhetorical question predicts the negative answer, the negative form – the positive answer. Apokoinu construction, characteristic of irregular oral speech, presents a blend of two clauses into one, which is achieved at the expense of the omission of the connecting word and the double syntactical function acquired by the unit 15

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occupying the linking position between both former clauses: thus, “I’m the first one saw her,” presents the blend of the complex sentence “I’m the first one who saw her.” The main stylistic function of apokoinu construction is to emphasize the irregular, careless or uneducated character of the speech of personages. In ellipsis, which is the omission of one of the main members of a sentence, we must differentiate the one used in the author’s narration to change its tempo and condense its structure from the one used in personages’ speech to reflect the oral norms and create the effect of naturalness and authenticity of the dialogue. Though detachment secondary members of the sentence acquire independent stress and intonation which leads to their emphatic intensification. The effect is the strongest if detached members are isolated from the rest of the sentence by full stops. Sudden break in the narration, or aposiopesis, is a norm of excited oral speech. As a SD it is used to indicate strong emotions paralyzing the character’s speech or his deliberate stop in the utterance to conceal its meanings. Suspense, holding the reader or the listener in tense anticipation, is often realized through the separation of predicate from subject or from predicative, by the deliberate introduction between them of a phrase, clause or sentence (frequently parenthetic). The function and the impact of repetition depends upon the position occupied by the repeated unit. Thus, Ordinary repetition offers no fixed place for the repeated unit – aa…,..a…, a.. a.., .aaa.., …a., etc. Anaphora models differently: a…,a…,a…,a… Epiphora:…a,…a,…a,…a. 16

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Framing: a…a,b…b. Anadiplosis (catch repetition):…a,a… Chain repetition: …a,a…b,b…c,c…d,d… We should not forget also morphological repetition when (mainly to achieve humorous effect) a morpheme is repeated. Repetition, involving the whole structure of the sentence is called parallelism and is differentiated into complete parallelism, presenting identical structures of two or more successive clauses or sentences, and partial parallelism, in which the repeated sentence – pattern may vary. Chiasmus is also called reversed parallelism, for into its pattern two sentences are included, of which the second necessarily repeats the structure of the first, only in reversed manner, so that the general formula of chiasmus may be fixed as follows: SPO, OPS. Polysyndeton is also a kind of repetition – here conjunctions or connecting words are repeated. The repetition of “and”, e.g., mainly creates the atmosphere of bustling activity; the repetition of “or” serves either to stress equal importance of enumerated factors or to emphasize the validity of the indicated phenomenon regardless of its varying denominations by various parties concerned, etc. Asyndeton, like polysyneton, is a type of syntactical connection but unlike polysyndeton, offers no conjunctions or connecting words for this purpose. Hence the difference in functions: asyndeton is used mostly to indicate tense, energetic, organized activities or to show a succession of minute, immediate following each other actions. Opening the story (the chapter, the passage), asyndeton helps to give a laconic and at the same time detailed introduction into the action proper.

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Define syntactical stylistic devices in the following sentences: 1. “Put it back, put it back, put it back!” the scream seemed to say. 2. He would become conscious that Megan’s eyes – those dew-gray eyes – were fixed on him. 3. Should you ask me, whence these stories? Whence these legends and traditions, With the odors of the forest, With the dew, and damp of meadows 4. You are no longer the slow, plodding puny thing of clay, creeping tortuously upon the ground; you are a part of Nature. 5. His fingers stained and warm. 6. His jokes were sermons and his sermons jokes. 7. “The very idea of it! “The irony of it! That woman!” said Soames. 8. The raisins and almonds and figs and apples and oranges and chocolates and sweets were now passed about the table. 9. There was a whisper in my family that it was love drove him out, and not love of the wife he married. 10. I have to beg you for money. Daily. 11.Are there the remedies for a starving and desperate populace? 12.Poirot was shaken; shaken and embitter. 13.They had not seen – no one could see – her distress. 14.In waves, in clouds, in big round whirls the dust comes stinging, and with it little bits of straw and chaff and manure. 15.Sometimes they were too large and sometimes they were too small; sometimes they were too far from the center of things and sometimes they were too close. 16.If you continue to misbehave … 17.In the days of old men made the manners, manners now make men. 18.Sir Pitt came in first, very much flushed, and rather unsteady in his gait. 19.We have a missionary came over the first Sunday. 18

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20.We have never been readers in our family. It don’t pay. Stuff. Idleness. Folly. No, no. 21.It was a terrifying experience for us who were in our mind’s own true senses; I hardly dare to think what it must have been for Art, strapped, helpless and immobile. 22.The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. 23.The death of a hero! What mockery, what bloody cant! What sickening putrid cant. 24.Early evening. April. 25.Nothing ever happened in that little town, left behind by the advance of civilization, nothing. 26.I observed Thomson, Thomson observed me. 27.Shelling the peas, smelling the onions cooking, watching the deft movements of her perfectly manicured hands, hearing the gay murmur of her voice, he felt the depression of the last weeks left. 28.They had not seen – no one could see – her distress, not even her grandfather. 29.I’m the first one saw her. 30.Gentleness in passion! What could have been more seductive to the scared, starved heart of that girl? 31.Megan’s eyes – those dew –grey eyes - were fixed on him with a sort of lingering soft look. 32.Who knows?

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LEXICO-SYNTACTICAL STYLISTIC DEVICES

GUIDE TO LEXICO-SYNTACTICAL STYLISTIC DEVICES

While in lexical SD the desired effect is achieved through the interaction of lexical meanings of words and in syntactical SD through the syntactical arrangement of elements, the third group of SD is based on the employment of both – fixed structure and determined scope of lexical meanings. So, in Climax we observe parallelism consisting of three or more steps, presenting a row of relative (or contextual relative) synonyms placed in the ascending validity of their denotational (which results in logical and quantitative climax) or connotational meanings. The latter type of climax is called emotive and is realized through still another pattern of a two – step structure, based on repetition of the semantic centre, usually expressed by an adjective or adverb, and the introduction of an intensifier between two repeated units, e.g., “I am sorry, terribly sorry”. Sudden reversal of expectations roused by climax (mainly non - completed), causes anticlimax. The main bulk of paradoxes is based on anticlimax. Antithesis is a structure consisting of two steps, the lexical meanings of which are opposite to each other. The steps may be presented by morphemes, which brings forth morphological antithesis, e.g., “underpaid and underworked”; by antonyms (or contextual antonyms) and antonymous expressions which is the case of antithesis proper; and by completed statements or pictures semantically opposite to one another which brings forth developed antithesis. Litotes presupposes double negation; one – through the negative particle not or no; the other – through a) a word with a negative affix (“not hopeless”); b) a word with a negative or derogatory meaning (“not a coward”); c) a negative construction (“not without love”); d) an adjective or adverb preceded by too (“not too awful”). 20

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The stylistic function of all these types is identical to convey the doubts of the speaker concerning the exact characteristics of the object in question. Simile is also a structure of two components joined by fixed range of link – adverbs like, as, as…as, as though, etc. if there is no formal indicator of simile while semantic relations of both parts of the structure remain those of resemblance and similarity, we may speak of a disguised simile which preserves only one side of the SD – lexical, modifying its other side – structural. The structure of periphrasis is modeled with difficulty, for it is exceedingly variable. Very generally and not quite precisely it can be defined as a phrase or sentence, substituting a one – word denomination of an object, phenomenon, etc. Proceeding from the semantic basis for the substitution, periphrases fall into logical, euphemistic and figurative. The main stylistic function of all these types is to convey the author’s subjective perception, thus illuminating the described entity with the new, added light and understanding. Represented speech, which combines lexical and syntactical peculiarities of colloquial and literary speech, has gained widespread popularity especially in the 20th century, allowing the writer in a condensed and seemingly objective manner to lead the reader into the inner workings of human mind.

Define lexico-syntactical stylistic devices in the following sentences: 1. It (the book) has a-a-power, so to speak, a very exceptional power; in fact, one may say without exaggeration it is the most powerful book of the month. 2. His fees were high; his lessons were light. 3. A woman who could face the very devil himself – or a mouse – loses her grip and goes all to pieces in front of a flash of lightning.

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4. Every tree and every branch was encrusted with bright and delicate hoarfrost, white and pure as snow, snow, delicate and defined as carved ivory. 5. Powell’s sentiment of amused surprise was not unmingled with indignation. 6. My better half ordered me to return in time. 7. With the quickness of a long cat, she climbed up into the nest of coolbladed foliage. 8. Well, I couldn’t say no: it was too romantic. 9. For a single instant Birch was helpless, his blood curdling in his veins at the imminence of dangers and his legs refused their natural and necessary office. 10. … grinning a strangely taut, full width grin which made his large teeth resemble a dazzling miniature piano keyboard. 11.I am sorry, I am so very sorry, I am so extremely sorry. 12.Under the carver’s hand it cuts like clay, it folds like silk, it grows living branches, it leaps like living flame. 13.During the previous winter I had become rather seriously ill with one those carefully named difficulties which are the whispers of approaching age. 14.The idea was not totally erroneous. The thought did not displease me. 15.He is a man like myself. Indeed, there is but this difference between us – that he wears fine clothes while I go in rage, and that while I am weak from hunger he suffers not a little from overeating. 16.They were absolutely quite; eating no apples, cutting no name, inflicting no pinches, and making no grimaces, for full two minutes afterwards. 17.He strutted, waving his hands as though he commanding an army. 18.She couldn’t help remembering those last terrible days in India. Not that he isn’t very happy now, of course.

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19.He would make some money and then he would come back and marry his dream from Blackwood. 20.He was almost the same height standing up as sitting down (a not all that rare type of physique in Wales). 21.It was a lovely city, a beautiful city, a fair city, a veritable gem, of a city. 22.I felt I wouldn’t say no to a cup of tea. 23.Unhappiness was like a hungry animal waiting beside the track for any victim. 24.A young blood from Cambridge chanced to enter the inn at Chipping Norton, while Sterns was seated there. 25.More solitary than Robinson Crusoe, who had nobody to look at him and see that he was solitary, I went into the booking-office. 26.Lady Braknell: I was obliged to call on dear lady Harbury. I hadn’t been there since her poor husband’s death. I never saw a woman so altered: she looks quite twenty years younger. 27.Among the people the priest did not particularly want to know was a very dominant-looking lady, sensationally clad in scarlet, with a mane of yellow hair too long to be called bobbed, but too loose, to be anything else. 28.Kirsten said not without dignity: “Too much talking is unwise” 29.And then we take a soldier and put murder in his hands and we say to him: “go out and kill as many of a certain kind of classification of your brother as you can”. 30. He was inconsolable – for an afternoon. 31. She hadn’t wanted to marry him or anyone else, for that matter, unless it was someone like her father. But there was no one like her father. No one she had ever seen. So, oh, well, what’s the diff! You have to get married some time. 32. I shook her as far as I could. I’d done it in play before, when she’d asked me to hurt her; please hurt her; but this time I was in brutal earnest. 23

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GRAPHICAL AND PHONETIC EXPRESSIVE MEANS

GUIDE TO GRAPHICAL AND PHONETIC EXPRESSIVE MEANS

Graphical expressive means serve to convey in the written form those emotions, which in the oral type of speech are expressed by intonation and stress. We refer here to emphatic use of punctuation and deliberate change of the spelling of a word. All types of punctuation can be used to reflect the emphatic intonation of the speaker. Emphatic punctuation is used in many syntactical SD – aposiopesis, rhetorical question, suspense and may be not connected with any other SD: “ And there, drinking at the bar was – Finney!” The changed type (italics, bold type, etc.) or spelling (multiplication – “laaarge”, “rrruin”; hyphenation – “des- pise”, “g - irl”, etc.) are used to indicate the additional stress on the emphasized word or part of the word. Phonetic expressive means – alliteration, onomatopoeia and others – deal with the sound instrumenting of the utterance and are mainly found in poetry. Alliteration is a phonetic stylistic device which aims at producing melodic effect of the utterance. It is the repetition of similar sounds in neighbouring words or the repetition of combination of sounds and relatively short intervals or of the same letter or syllable in two or more words in close succession. Onomatopoeia is the representation of the sound existing in nature, the imitation of natural sound produced by wind, sea, thunder, by things (machines or tools) and by animals.

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Euphony comprises rhyme and rhythm. Rhyming is one of the means of euphony. It is considered to be quite normal in poetry, it sounds pretty abnormal in prose. Rhythm is another means of euphony. Like rhyming it is mostly characteristics of poetry but its presence in a prosaic work is unquestionable. Rhythm in prose is not governed by any definite rules, it is dependent on the author’s artistic sense. Some parts of prosaic descriptions are very rhythmical which produces a certain stylistic effect. Due to rhythm some utterances may sound very solemn in political declarations.

1. “…I re-fuse his money altogezzer.” 2. He misses our father very much. He was s-l-a-i-n in North America. 3. “…I r-r-r-ruin my character by remaining with a ladyship so infame!” 4. “Now listen, Ed, stop that now! I’m desperate. I’m desperate, Ed, do you here? Can’t you see?” 5. Cecil was immediately shushed. 6. His wife was shrill, languid, handsome and horrible. 7. Then with enormous, shattering rumble, sludge-puff sludge…puff, the train came into the station. 8. “And nearing, and clearing, and falling, and crawling, and sprawling, and gleaming, and streaming, and gleaming and in this way the water comes down”. 9. “The silken, sad, uncertain rustling of each purple curtain”. 10.“There are twelve months in all the year as I hear many men say. But the merriest month in all the year is the merry month of may”. 11.As I worked through the wilderness of the world. 12.School for scandal. 13.Tit for tab. 14.Neither rhythms nor reason. 25

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15.“Whenever the moons and stars are sets. Whenever the wind is high All night long in the dark and wet A man goes riding by”.

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THE LIST OF STYLISTIC DEVICES

Lexical

Syntactical

Lexico-syntactical

Phono-graphical

Allusion

Apokoinu

Anticlimax

Alliteration

Antonomasia

construction

Antithesis

Euphony

Archaism

Apposiopesis

Climax

Graphon

Barbarism

(break)

Litotes

Onomatopoeia

Dialect

Asyndeton

Periphrasis

Rhyme

Epithet

Chiasmus

Simile

Rhythm

Foreignism

Detachment

Represented

Hyperbole

Ellipsis

speech

Irony

Framing

Jargonism

Inversion

Metaphor

morphological

Metonymy

repetition

Neologism

Parallelism

Oxymoron

Polysyndeton

Personification

Repetition

Pun

(Ordinary

Slang

repetition,

Term

Anaphora,

Understatement

Epiphora,

(meiosis)

Anadiplosis (catch

Vulgarism

repetition),

Zeugma

Chain repetition, Framing) Rhetorical question Suspense 27

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ADDITIONAL MATERIAL TO HELP STUDENTS IN ANALYSING THE TEXT HOW TO SPEAK ABOUT AUTHOR

Examples: 1.O. Henry is the open name (pseudonym) of William Sydney Porter (18671910). O. Henry is one of the best of the short story. O. Henry’s stories possess a distinctiveness of style and structure which is easily recognizable no matter what he writes about. His stories always have unexpected turns and surprising endings based on sheer coincidence and are full of humour. 2. Jerome K. Jerome (1859-1927) – a well-known English writer, the author of such popular books as “Three Men in a Boat”, “The Idle Thoughts of an Idle Fellow”, “Novel Notes” and some others. Jerome K. Jerome is essentially a humorist. The critical tendency is generally expressed in gay mockery, a funny anecdote and laughter-provoking situations. 3. Mark Twain (1835-1910) is a famous American writer. A brilliant humorist, one of the flashing wits of his age, Mark Twain often rose to trenchant satire, especially when exposing imperialist aggression, racial discrimination, the corruption of the bourgeois press and the like. His best-known books and pamphlets are “the adventures of Tom Sawyer and Huckleberry Finn”, “The Innocents abroad”, “The Connecticut Yankee”, “The Man that Corrupted Hadley burg”, “An Encounter with an Interviewer”. 4. Katherine Mansfield, a talented English author, who lived in 1888-1923. She is famous for her short stories. Her works are marked by a deep psychological insight, a warm sympathy for the common man. Her style is tense and lucid. She excels both in character drawing and the portrayal of nature. The British critics call Mansfield the English Tcheknov. Mansfield may be really considered one of the most talented followers of Tchekhov in Western literature. Among her best known 28

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short stories there are “The Cup of Tea”, “The Doll’s House”, “Bliss”, “The Lady’s Mais”, “Pansion Seguin”, “Sixpence” and other.

EXAMPLES OF PRECIS

1. The extract deals with a dinner-party at Swithin Forsyte’s, Soanes brother. All the Forsytes are present, including June Forsayte, one of the younger generations. June is engaged to Philip Bossinney, a young architect, talented but poor because he is unfussiness like and impractical. The dialogue takes place between June and her uncle James Forsyte. 2. The extract deals with Nicholas’s return to London after her has trevelled about the country in search of work. The author gives us the picture of London which brings to light the sharp contrast between wealth and poverty characteristic of English in those days. 3. This extract under discussion tells us of an adventure met with by three friends who traveled on bicycles about Germany; this description is a fine specimen of Jerome’s humour, his vivid, sparking style and his art of story-telling. 4. The episode shows Andrew Manson at one of the hardest moments which were not infrequent in the career of a young provincial doctor. Frant Davis, an ambulance man, informs Andrew that there has been a fall-down in one of the mines, and a minor has been hardly injured. In few minutes Andrew is taken down to the scene of the catastrophe. His mood is revealed in the following extract …

THE FORM OF THE TEXT 1. The text represents the description of … which is very vivid (idyllic, lyrical, mild, dynamic, subdued, etc.). 2. The text represents mostly narration with small bits of a dialogue … 29

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THE STRUCTURAL COMPOSITION 1. What strikes one’s eyes at the first glance is the compositional structure. 2. The story consists of the exposition, the story itself, culminative point (climax) and denounement. 3. The text begins with the exposition (introduction) which arrests the reader’s attention at once (which is very arresting). 4. The exposition puts the reader on his guard. 5. The denounement of the story is very surpising. 6. The story has a surprise ending.

THE POINT OF VIEW AND METHOD OF CHARACTERIZATION - There are many points of view in the narration. - It is a first (third) person narration. - The narrator is the writer’s mouthpiece. - The narrator is alien to the writer. - The reader is to discern the writer’s viewpoint. - The story is conducted in the name of the author. - The writer identifies himself with the narrator. - The method of characterization is indirect: the author does not reveal own attitude to the main character directly. He simply states the facts and leaves it to the reader to draw his (final) conclusion. - The events are told by the author himself. But he abstains from criticism.

THE PLOT. PARTS OF THE TEXT - This story is highly plotted. -

The plot is tight. 30

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- The author twists the plot. - This plotted story has a beginning, a middle and an end. - The story is plot less. - The story develops (goes) through some stages. -

The plot develops briskly (slowly).

- The plot is loose, reduced to minimum. - The plot of the story is very simple. It is built around the working day … - The action takes place at school … - The events are developing very slowly (or swiftly from the very start). - The text can logically be divided into 3 parts in accordance with 3 different topics expressed in the 3 paragraphs of the story. They can be entitled as follows: I have entitled the first part … I think it will be apposite to entitle the 1st part … The key sentence (the topic sentence) of this part is …

THE KEY (MOOD, SLANT) - The story is written in an ironical (pathetic, merry …) key. - The words and phrases creating the mood of the story are “smiling”, “roaring with laughter”, “Bursting into laughter” - The mood of the story is … - The description of … is permeated by the lyrical mood.

THE TITLE OF THE STORY - The story is entitled “….” - One can’t help mentioning some incongruity may be the following: … 31

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- The story is entitled “…”. In this way the writer makes the reader suspect something interesting (intriguing, wrong …) - The following message is expressed through this title: … - The title of the story is appropriate here.

WORDS AND PHRASES WHICH MAY BE HELPEUL FOR THE VERY ANALYSIS - The 1st paragraph of the text tells us about … - This fragment begins with the description of … - At the beginning of the story (the fragment, this part of the text) the author describes

criticizes

depicts

makes a few critical remarks

dwells

on …

touches upon

reveals

introduces

exposes

mentions

accuses

recalls

blames

characterizes

condemns

analyses

mocks at

comments on

ridicules

enumerates

praises

points out

sings the praise

generalizes

sympathizes with 32

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gives a summary of

gives an account of

makes an excursus into

- The story (the author) begins with a (the) description of

the enumeration of

the introduction of

a few critical remarks about

the mention of

the accusation of

the analysis of

the ridicule of

a comment on

the generalization of

a review of

an excursus into

an account of

the characterization of

his opinion of

his recollections of

- the story opens with … - the scene is laid in … - the opening scene shows (reveals) … - We first see (meet) him (her) as a student of medical college (a girl of 10, etc.) - In the next paragraph the writer directs the reader’s attention to quite a new topic. - Then (after that, further, next) the author passes on to … goes on from … goes on to say … digresses from the subject. 33

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-

The next fragment is also informative. It gives information to the reader about (additional information about) …

-

Here the write makes a lyrical digression by depicting nature. It is shown through the eyes of the main character.

-

The topic sentence of this paragraph is …

-

The writer is trying to convince the reader that …

-

Every detail of N’s character is carefully weighed and assigned its proper place. Here the author plants the seeds of doubt (…) in the minds of the

readers. -

The author keeps readers on tender hooks (pins).

-

Here the writer addresses directly to the reader (eg. Mind!). The reader is his imaginary interlocutor.

-

In the last paragraph the author ends his story with.

-

The author’s concluding words are …

-

The author is concluding with … . At the end of the story the author draws the conclusion … (comes to the conclusion …, sums it all up saying …)

-

It is worthy to note that …

-

The main idea of this fragment (paragraph) is.

-

The most likely explanation of such behavior of the character is the following … This is my own supposition.

-

The writer’s aim in this garment is the depiction of N. He begins to do it with appearance, his social position (his occupation). He does it with help of the special choice of words (words, denoting …) and he makes use of striking epithets …

-

To achieve it (with this purpose, to make the description of the nature (character) more vivid (emotional, true to life) the author resorts a very bright (striking) metaphor (…) which is supported by a genuine simile …

-

The metaphor is backed by a simile.

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-

This simile adds to the effect produced by the above mentioned metaphor.

-

This stylistic device, alongside the one mentioned, adds weight to the character’s words (to the description of …)

-

This metaphor strikes the reader with its vividness.

-

The writer here is extremely language conscious.

-

To show it (to stress, to underline) the author resorts here to a number of stylistic devices metaphor (…), simple (…), epithets (…), which produce a powerful effect.

-

For this purpose the writer has selected (resorts to) the following stylistic devices and expressive means: …

-

There is no direct indication of the fact. It’s understood indirectly, through the mention of the word.

-

The most likely explanation of such behavior is the following. This my supposition.

-

Nature (…) is described in a few masterful strokes (through his speech, actions).

-

The description is made with a great force of convicts due to the following stylistic devices: …

-

This zeugma aims here at a mocking effect …

-

The use of zeugma is very significant here. Its function is to produce a humorous effect.

-

Here the author bursts out with emotions … . His resorts to a number of epithets, showing the beauty of English spring flowers (eg: …), or disgusting features of this man (…)

-

The next fragment opens with an interjection “Oh” and an exclamatory sentence “What a beauty!” Both have great power which extends over the whole bit of the text. They color it. An exclamation mark is always a signal of emotional tension.

-

Intensifiers here give the sentences a degree of importance. 35

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-

These words with strong negative connotation speak for themselves (are used to high ten the effect…)

-

These synonyms have different connotations which add a slightly modified meaning to the logical meaning of the dominant.

-

This choice of words helps to convey the emotions of the main character.

-

The writer speaks here in hints (periphrases).

-

The paragraph ends with a periphrasis of a logical (euphemistic, metaphorical) kind.

-

These sentences are so arranged that each of the consequent sentences is more important, more significant and more emotionally colored than the preceding one. They all form climax.

-

It is the starting point of the climax (it’s the peak of the climax).

-

Within the climax e can see some other EMs and SDs: a simile (…), epithets (…)

-

The second part of the text begins with anticlimax.

-

The main stylistic device employed here is antithesis built on a parallel construction (on purposely contrasted choice of words, etc.)

-

The whole fragment is built on antithesis.

-

If we turn to the analysis of the vocabulary of the text (fragment) we cannot fail to observe the purposely contrasted choice (eg: neutral words and bookish words).

-

This paragraph is built on the same (following) principal device – it combines the elevated with the commonplace, the lofty and the common.

-

The word “and” before each epithet indicates that the author intends to make each of the epithets look as significant as possible (the reader will inevitable place heavy stress on each of the epithets).

-

The word (…) is repeated 4 times. The reputation of it carries a heavy stylistic weight.

-

The speech of this character is of a colloquial character. 36

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-

The manner of speech of this character simple (lofty, pompous, ect.)

-

These sounds form a melodic effect.

-

This alliteration produces an unpleasant effect on the ear and thus contributes to the generally unfavorable impression by the reader from the portraying of N.

-

This stylistic device enhances the emotional tension of the scene.

-

This stylistic device contributes to the dynamic force of the description of … (to the humour of the description), etc.

IDEA - The main problem raised in the text is … - The idea expressed in the text can be stated as follow: … - The author is very persistent in carrying the idea to the mind of the reader: … - The writer is trying to convince the reader that sense of humour and witticism are of great help for a teacher dealing with children. - Throughout the whole story the author develop and completes one and the same idea: he never digresses from it.

THE WORDS AND PHRASES TO CHARACTERIZE PERSONAGES Flat character – скучный, неинтересный, нудный A round character – ровный, покладистый A certain complexity of the character – сложный характер A split character-divided against himself – раздвоенный A man within – человек в себе A person of low mentality, low morality – человек небольшого ума, низкой морали

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bright

способный, смышленый

bold

смелый

brave

храбрый

calm

спокойный, тихий

capable

способный, одаренный

cheerful

бодрый, веселый

clever

умный

communicative

общительный, разговорчивый

conscientious

добросовестный

decent

порядочный, приличный

diligent

прилежный, усердный

faithful

верный

fair

честный, справедливый

frank

откровенный

generous

великодушный, щедрый, благородный

good-natured

добродушный

honest

честный

industrious

работоспособный

just

справедливый

kind

добрый

modest

скромный

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noble

благородный

persistent

упорный, настойчивый

polite

вежливый

punctual

пунктуальный

reasonable

благоразумный

reserved

сдержанный

resolute

твердый, решительный

strong-willing

волевой

smart

остроумный, находчивый, быстрый

tactful

тактичный

well-bred

благовоспитанный

wise

мудрый

witty

остроумный

discreet

осторожный

absent-minded

рассеянный

ambitious

честолюбивый

awkward

неуклюжий

Syn. clumsy boastful

хвастливый

conceited

самодовольный, тщеславный

cunning

хитрый, коварный

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cruel

Жестокий

double-faced

двуличный, неискренний

envious

завистливый

flippant

легкомысленный, ветреный

greedy

жадный

garrulous

болтливый, словоохотливый, говорливый

haughty

надменный, высокомерный

hot-tempered

горячий, вспыльчивый

ill-mannered

невоспитанный, грубый

Syn. ill-bred impudent

нахальный, дерзкий

irritable

раздражительный

jealous

ревнивый

lazy-minded

легкомысленный

meen

низкий, нечестный

naughty

непослушный, капризный, шаловливый

obstinate

упрямый

officious

назойливый

rude

грубый

selfish

эгоистичный

Syn. egoistic

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shy

робкий, застенчивый

stingy

скупой, скаредный

sluggish

медлительный

sly

хитрый, лицемерный

touchy

обидчивый

uncommunicative

необщительный, замкнутый

weak-willed

слабовольный

blockhead

тупица

bore

скучный, надоедливый человек

chatter-box

болтун(ья)

coward

трус

dawdler

копуша

lazy-bones

лентяй

liar

лжец

nuisance

нудный, надоедливый человек

slacker

лодырь, бездельник

Syn. loafer sleepyhead

разг. - соня

sloven

неряха

sweet-tooth

сладкоежка

behavior

поведение, манеры

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character

характер

humour

настроение, юмор

manners

манеры

mood

настроение

opinion

мнение

reputation

репутация

temper

темперамент

trait

черта характера

to be a man of (on) character – быть человеком сильного(слабого) характера to be angry – быть злым, сердиться to be cross – сердиться to

be

decent

(conscientious,

etc.)

all

around

–

быть

порядочным

(добросовестным и т.д.) во всех отношениях to be (not) in the mood for joking – иметь (не иметь) настроения (шутить) to deceive – обманывать to have a high (low) opinion – быть высокого (невысокого) мнения о ком-либо to have a good (bad) sense of humour – иметь (не иметь) чувства юмора to insult – оскорблять to lose one’s temper – терять самообладание to neglect one’s duties – пренебрегать своими обязанностями to offend – обижаться to praise – хвалить 42

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to put on airs – напускать на себя важность to respect – уважать to shirk smth – увиливать от чего-либо to tease – дразнить to trat somebody well (badly) – относиться к кому-либо хорошо (плохо) to think of all relations in life purely in terms of money he (she) is good (hard) to get along with. – с ним (ней) легко (трудно) ладить to gain notoriety – приобрести дурную лаву he is easy (an easy person) to live with – с ним легко жить

SOME PHRASES TO MAKE THE CONCLUSION OF THE ANALYSIS - the form on the text is in full concord with the idea. - the story produces a strong impression on the reader both from the point of view of its contents and from the point of its form narration. - the story produces a great impression from the point of view of the author’s language. - the writer is extremely language conscious. He proved himself a brilliant storyteller (stylist (master of style), humorist). - one can’t help mentioning the brilliance of the writer’s language. - the writer proved himself a keen observer of nature (an observant painter of nature), a master of character-drawing, a brilliant psychologist, an observer of human nature. - the writer criticized (exposes, condemns), horrors and uselessness of war, vices of the philistine society, etc. - the story is permeated with a humanitarian spirit.

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- the story is full of all kinds of stylistic devices: lexical, syntactical and lexicosyntactical and they all are very helpful and effective in rendering the main idea of the text. - the book holds you with a firm grip (on tender hooks, on pins, in suspense). - the book is based on actual facts (full of critical spirit, a challenge of life). - the book excites the mind of readers (keeps an unflagging interest of readers). - This book brings into sharp focus the problems of the 20 th century. It is a landmark in the history of modern fiction.

EXAMPLES OF STYLISTIC ANALYSIS

“Saying “No” To Your Children” by Art Buchwald Перфильева Ульяна

The author of the text. Art Buchwald (1925-2006) is an American journalist and writer of humourous stories. He is an author of the well-known articles and stories “King for a Day” (1988), the book of memoirs “Leaving Home” (1993) and “I’ll Always Have Paris” (1996). He describes his illness and recovering in the book “Too Soon to Say Goodbye” (2006). Précis. The extract deals with the quarrel between a teen-age girl and her parents, which happened once in a typical American family. The bone of contention was “a lousy 50 bucks”, which dad refused to give to his 16-year-old daughter Colleen. But she was burning with the desire to go to the grateful Dead rock concert, the only important event of the year! Colleen who had never heard “No” from her parents wasn’t allowed to visit 44

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the concert. The author gives us the picture of argument: Colleen who insisted on giving her the money and her parents who were trying to persuade her that their family needed money for more useful things. As a result, both (opposite) sides lost their temper and the readers can’t see happy end of the story – the characters completely quarreled. The functional style of the text is the style of fiction (emotive prose). The text represents mostly a dialogue with small bits of narration (introduction and the author’s speech). The plot of the story. The plot of the story is rather simple. It is built around one summer day when a 16-year-old Colleen suddenly discovered that her mom and dad never loved her. The events are developing very quickly. The text can be logically divided into three parts. The first part – introduction arrests the reader’s attention at once: “There comes a time in every parent’s life when they have to say “No” to their children. It is a terrible moment for a child…” After that the story itself comes. The culminate point is when Colleen’s mother walked into the room and remarked that “money doesn’t grow on trees”. From this very point the conflict came into forth. Father and daughter offended each other blaming in all mortal sins. The denouement of the story is very emotional and it can be easily noticed that the characters’ nerves were definitely on the edge. The choice of the point of view. The point of view of the author is played up by the group of characters: Colleen, Mr. and Mrs MeCarthy. The main problem raised in the story is that “a terrible moment for a child” when he/she hears from the parents “no”. unfortunately for Coleen this time has come. Throughout the whole story the author brings and develops the idea of misunderstanding and disappointment of the children. Method of characterization. Here we can that the author uses the method of indirect characterization. He leaves it to the reader to judge the characters by what they do and say. Key (mood) of the text. The story is written in an ironical and at the same time nervous gloomy key. The situation is ordinary, that’s why the text has also a matter-of-fact tone. 45

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On the one hand, it makes me sad that a girl wasn’t given the money to go to the rock concert, but she still insisted. Otherwise she would die as she said. On the other hand, I do understand the parents’ position because the family is reduced in money at the moment. The words and phrases creating the mood of the story are “terrible moment”, “have to say “no”, “amazement”, “shrieked”, “protested”, “couldn’t believe her ears”, “I’ll die if I don’t go”, “hold back”, “a lousy 50 bucks”, “will you hate me”, “I’ll never trust you again”, “wants to annul our relationship”, “irreconcilable differences”, “Grateful Dead concert”, “dumpy town”, “to have a fit”, “you don’t understand me”, etc. Analysis of the text. The author to create the atmosphere of the conflict uses the following stylistic devices. The story is full of certain lexical SD even at the beginning of it: -

metaphor: “there comes a time in every parent’s life”;

-

epithet: “terrible moment”;

-

metonymy: “a 16-year-old”;

-

oxymoron: “the Grateful Dead concert” which lets us know about the inevitability

of the conflict: -

antonomasia: “Turtle” (about a teenager who moves very slowly), “Big Mac” (a

person who eats a lot). After that one -member sentence “No” shows us the beginning of the conflict and has also a great power. We can single out examples of the repetition: “That’s not everybody. That’s the short list of people you hang out at Roy Rogers”. To produce a very strong effect on the reader the author uses chiasmus: “But everybody is going”.- “Who is everybody”. Such a lexico-syntactical SD as “use 50$” means “to spend it on smth or to buy smth”. In this very sentence there is an example of simile: “something like a new battery”. It means “the device, the useful thing which has the value and price the same as the battery has”. 46

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To produce a very strong effect on the reader the author uses chiasmus “But everybody is going” – “Who is everybody”. The author describing his characters uses such a lexical SD as antonomasia, e.g. “Turtle” (about a teenager who moves very slowly), “Big Mac” (a person who eats a lot especially big macs. As a result he has big size), “Lonker” (a young person who is extremely tired or suffering from the effects of alcohol or drugs). There is an example of slang, e.g. “to hang out” which means to spend a lot of time in a place and which

gives the additional expressiveness when characterizing the

personages. In the text there is an example of litotes “…but no one ever died from not going”. The author uses it to my mind for positive evaluation. The dad meant probably that everything is not so bad as his daughter represented. So the litotes was used to weaken the effect of the sadness. To make the character’s speech more vivid Art Buchwald uses hyperbole “I’ll die if I don’t go to the concert”. The girl will not die of course but her feelings are so ruffled. One paragraph consists of several rhetorical questions: “Is this the father…? The one who tossed the baseball to me on the front lawn, the man who defended me when the principal said that I talked too much in school?”. The rhetorical questions help to reveal the girl’s attitude to her father. The father who is the one and the man. This is also the example of climax. There are some expressive epithets in the text, like “lousy 50 bucks”, “dumpy town”, etc. At the peak of the story the author puts the phrase into father’s speech “Money doesn’t grow on trees”. The girl knew very well that her parents were not rich and they always reminded her about that but she protested and demanded what her family couldn’t afford. Her attitude towards these words was her scream. Here Art Buchwald uses irony: “Why do you always say that when someone wants to go to a rock concert?”. 47

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Everybody in the family understood that this “someone” was Colleen. After dad’s refusal to give her 50 bucks she started thinking that they had never loved her before and her thoughts, wishes and feelings were not so important for her parents. In the next sentence “You are the only parents who would ignore the emotional needs of their daughter to save a mere US $ 50” we can see the example of hyperbole. We come across the example of detachment: “Never. I won’t treat my child in a such a way that…”. This sentence structure gives the emotion of strength in the relation between parents and their daughter. The text ends with the example of inversion “Hate is too strong a word”. This produces more powerful effect. Conclusion. The story produces a strong impression on the reader both from the point of view of its contents and from the point of its form narration. One can’t help mentioning the brilliance of the writer’s language. Art Buchwald proved himself a keen master of character- drawing. The story full of all kinds of stylistic devices: lexical, syntactical and lexico-syntactical. They are very helpful and effective in understanding the characters and rendering the main idea of the text. Moreover, the author used a lot of set-phrases which make the description and the speech more vivid, emotional and true to life. While reading the text I recognized myself in the main character, 16-year old girl. The story is to my liking, because it describes the reality of our life, the problems between teenagers and their parents. The author helps us to understand the problems and how to solve them through his characters.

“Christmas Carol” by Charles Dickens Баженова Наталья.

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The author of the text. Dickens’s world-wide popularity is immense and enduring. In the books by Dickens (1812-1870) we have an astonishing combination of creative vigour, inimitable humour and abundant variety. Dickens is one of the novelists representing critical realism in English literature. He showed the life of English society of his time, but he was never an indifferent storyteller. The writer touched upon the most significant social problems, drawing the reader’s attention to work-houses, the ruling classes’ hypocrisy, lack of rights of poor people, and the cruelty of state laws. He always took the side of honest and kind people. He struggled for virtue and hated vice. The reader is touched to a great extent by the humanity reflected in every page of Dickens’ novels. The writer arouses kind and pure feelings imperceptibly giving the lessons of love for man. The well-known novels by Dickens are:”The Posthumous Papers of the Pickwick Club”, “The Adventures of Oliver Twist” (1838), “The Personal History of David Copperfield” (1850), “Little Dorrit” (1857) and “Great Expectations” (1861). Precis. The extract from “Christmas Carol” by Charles Dickens comprises the description of the main character Scrooge. He is a businessman and has a warehouse. His companion and friend Marley dies and Scrooge, his sole legatee, organizes funeral with an undoubted bargain. The functional style of the text is belles-lettres style as the extract refers to the novel. The form of the text. Charles Dickens draws here a character but his description includes also an account of events, some episodes of Scrooge’ life and chronology is traced. The plot of the story. Structural composition of the text. The content of the extract let us presume that it’s taken somewhere from the middle of the novel. The passage, however, has its own plot: it begins with the introduction (Marley’s death) which arrests the reader’s attention at once, continues with the development of the events, then climax (Marley’s funeral, Scrooge’s description) and ends with the denounement which emphasizes Scrooge’s traits once more. 49

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The choice of the point of view. The story is told from the point of view of the author. Method of characterization. The author uses direct characterization and defines the character to the reader. The form of the author’s speech seems to be proper narrative. The division of the text into parts. The text can be divided into two parts. The first part can be called “Marley’s Death”: Marley is dead, Scrooge buries him but doesn’t paint Marley’s name out to hold him in esteem. And the second part “Sharp as flint and solitary as an oyster” draws the figure of Scrooge colourfully as a self-contained, reserved and secretive person who lives in his own world and keeps everybody out. The mood of the narration is ironical and produces a humorous effect. Analysis of the text. The author’s language is full of different expressive means and stylistic devices. The narration begins with the announcement of Marley’s death:”Marley was dead, to begin with”. The author uses here the inversion which serves to stress the fact and emphasize it logically. Making the reader believe Marley is really dead Dickens uses trite simile “as dead as a door-nail”. Then it also produces a humorous effect when the author takes the denotative meaning of the separate word “nail” and tries to explain ironically the use of it in the expression. Dickens appeals to the reader’s feelings with the use of elliptical exclamation “Mind!” and elucidates the thought and underlines it with the help of framing, i. e. the passage begins and ends with the same words “Marley was as dead as a door-nail”. Proceeding to another thought and calling the reader’s attention, Dickens forms a rhetorical question:”Scrooge knew he was dead?” Besides the name of the main character is “speaking”. The author helps himself describing Scrooge using antonomasia and raises associations with certain human qualities: a stingy and grasping person.

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Dickens uses parallel construction: “Scrooge was his sole residuary legatee, his sole friend and his sole mourner” to add rhythm and balance to the utterance and again to intensify the idea. The character Scrooge is described metaphorically:”… he was a tight-fisted hand at the grind stone” in order to give bright and colourful comparison. Then the author continues his drawing with the pronged metaphor. All the examples are fresh. Moreover, Dickens enriches his description with the examples of simile “hard and sharp as flint”, “solitary ass an oyster” and framing “Hard and sharp as flint, secret and self-contained and solitary as an oyster”. The wide range of parallel constructions emphasizes the utterance: “The cold within him froze his old features, nipped his pointed nose, shriveled his cheek, stiffened his gait; made his eyes red, his thin lips blue, and spoke out shrewdly in his grating voice”; “No wind that blew was bitter than he, no falling snow was more intent upon its purpose, no petting rain less open to entreaty”, “No beggar improved him to bestow a trifle, no children asked him what it was o’clock, no man or woman ever once in all his life inquired the way…” To stress logically the word “nobody” Dickens uses such a syntactical stylistic device as detachment “Nobody, ever stopped him in the street…” The chain of epithets is used to describe the character more expressively:”…a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner”; the example of polysyndenton strengthens the idea of equal logical importance of connected words and produces a strong rhythmic impact:”A frosty rime was on his head, and on his eyebrows, and his wiry chin”, “The heaviest rain, and snow, and nail, and sleet…” And eventually to make a conclusion Dickens again appeals to the reader’s mind and asks rhetorically:”But what did Scrooge care?” and the answer is still in the air. Conclusion.The main idea of the passage is to show the greedy character and the majority of stylistic devices help to disclose the ideas of the extract. The individual 51

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manner of the author is in the wide range of stylistic devices which make the speech figurative and colourful. There is no doubt Charles Dickens is a great master of the belles-lettres style and he manages to paint a clear portrait of the character in a quite small passage. The author makes the readers think, smile and feel as he wants. The content of the passage is fascinating and gives us a desire to read the whole novel.

“Two Aspects of the River” by M. Twain Ившина Мария The author of the text. Mark Twain (1835-1910) is a famous American writer. A brilliant humorist, one of the flashing wits of his age, Mark Twain often rose to trenchant satire, especially when exposing imperialist aggression, racial discrimination, the corruption of the bourgeois press and the like. His best-known books and pamphlets are “the adventures of Tom Sawyer and Huckleberry Finn”, “The Innocents abroad”, “The Connecticut Yankee”, “The Man that Corrupted Hadley burg”, “An Encounter with an Interviewer”. Precis. The extract deals with the author’s memories. M. Twain remembers about the majestic river, describes the beauty of the nature and adores the river and the sunset. His memories take him far away. The functional style of the text is fiction. The text represents the description of the river which is very vivid. The plot of the story. Structural composition of the text The story consists of the exposition which puts the reader on his guard, the story itself, climax and denouement. The choice of the point of view. The events are told by the author himself. 52

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The method of characterization is direct. The division of the text into parts. The extract can logically be divided into three parts in accordance with three different topics expressed in the three paragraphs of the story. They can be entitled as follows:1)”The majestic river”; 2)”The dangerous water”; 3)”The usefulness of the river”. Key (mood) of the text The story is written in a lyrical key. In this way the writer makes the reader suspect something interesting. Analysis of the text. At the beginning of the story the author describes the river by using different stylistic devices. To make the description of the river more colourful he uses such lexical stylistic devices as epithets:”the great river”, “the densely wooded the majestic river”, the broad expanse”, “a wonderful sunset”, “the ruddy flush”, “a smooth spot” and others. We can also come across the example of metaphor:”The language of the water, the surface was broken by boiling, tumbling rings. In this part of the story there is a lexico-sytactical stylistic device as simile:”…a single leafy bough that glowed like a flame in the unobstructed splendor”. The author uses syntactical stylistic device suspense:”A broad expause of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating black and conspicuous; in one place a long…” M. Twain uses suspense to attract the reader’s attention to his description of the river. The second paragraph also opens with the description of the river. To make it more vivid, emotional the author resorts to very bright epithets:”a speechless rapture”, “a bluff reef”, “a new snag”, “very best place”, “tall dead tree”. The metaphor which strikes the reader by its originality:”…bluff reef which is going to kill somebody’s steamboat”. And all the description of the river is penetrated with the feeling that it is alive. So the author uses personification to get to the reader’s emotions.

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The stylistic devices used by M. Twain enhance the emotional tension of the scene, for example the use of suspense:”then, if that sunset scene had been repeated, I could have looked upon it without rapture, and should commented upon it, inwardly, after this fashion!” Through the whole description of the majestic river one can’t help mentioning very long sentences without any punctuation at all. It gives us the feeling that the writer was deeply in his thoughts and emotions. The last paragraph contains a lot of rhetorical questions:”What does the lovely flesh in a beauty’s cheek mean to a doctor but a “break” that ripples above some deadly disease?” “Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay?” “And doesn’t he sometimes wonder whether he has gained most or lost most by learning his trade?” Conclusion. The story “Two aspects of the river” produces a strong impression on the reader both from the point of view of its contents and from the point of view of its form narration. Throughout the whole story M. Twain develops and completes one and the same idea, the beauty of the majestic river and all the nature. He describes the river with great love and the reader thanks to this characterization as if it were a human being can hear splashes of the water and feel each hue of the sunset and can smell the night air. The story is full of all kinds of stylistic devices, They are all helpful and effective in nature description. One can’t help mentioning the brilliance of the writer’s language.

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Е.Н.Колодкина,

Л.П.Кудреватых, Г.А.Лекомцева. Киров, Изд-во ВГПУ, 1997. 7.

Seminars In Style. Методическое пособие для семинарских занятий по стилистике английского языка: Cост. Н.М.Шутова, Ю.А.Борисенко. Ижевск, Издательский дом «Удмуртский университет», 2004

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