1. Define the type of all stylistic devices realized in the following extracts

   1. Не треба класти руку на плече.

Цей рух доречний ,може, тільки в танці.

Довіра – звір полоханий, втече.

Він любить тиху паморозь дистанцій (Ліна Костенко)

2. Мене із малку люблять всі дерева,

і розуміє бузиновий Пан,

чому верба від крапель кришталева,

мені сказала: «Здрастуй!» - крізь туман (Ліна Костенко).

3. O miserable abundance, O beggarly riches (John Donne).

4. He was like a cock who thought the sun had risen to hear him crow (George Eliot).

5.He looked about as inconspicuous as a tarantula on a slice of angel food (Raymond Chandler).

6. The swiftest traveler is he that goes afoot (Henry David Thoreau).

7. Three local newspapers rejected my communications, likewise did the two weeklies.

8. Of course, Michael will not be late: you know how punctious he always is.

9. After a dinner and a bottle of heavy local wine in the deserted dining room, he felt excited (F.S. Fitzgerald).

10. Час тягнувся зі швидкістю равлика, і тільки Даруся цього не помічала (Марія Матіос).

11. Долонями горнятко обхопивши, п’ю каву.

Без цукру.

І без тебе (в. Слапчук).

2. Consider the following extracts. Describe all stylistic means that actualize the concept of time in the cited poetic texts. Dwell on the images created by the authors.

1. Time, you old gipsy man,

Will you not stay,

Put up your caravan

Just for one day (R. Hodson).

2. Prince, I warn you, under the rose,

Time is the thief you cannot banish.

These are my daughters, I suppose.

But where in the world did the children vanish? (Ph. McGinley).

3. She tried to discover what kind of woof Old Time, that greatest and longest established Spinner of all, would weave from the threads he had already spun into a woman. But his factory is a secret place, his work is noiseless, and his hands are mutes (Ch. Dickens).

4. Time is but the stream I go a-fish in. I drink at it; but while I drink I see the sandy bottom and detect how shallow it is. Its thin currant slides away, but eternity remains (H.D. Thoreau).

5. Time is a flowing river. Happy those how allow themselves to be carried, unresistingly, with the current. They float through easy days. They live, unquestioning, in the moment (Ch. Morley).

6. Yesterday is a canceled check; tomorrow is a promissory note; today is the only cash you have, so spend it wisely (K. Lyons)

7. Time is a fixed income and, as with any income, the real problem facing most of us is how to live successfully within our daily allotment (M.B. Johnstone).

8.Time is a dressmaker specializing in alterations (F. Baldwin).

9.The man trying to wear youth’s carefree clothing, the woman costuming her emotions in doll’s dresses – these are pathetic figures who want to reverse time’s arrow (J. L. Liebman).

10. Time is a gift given to you,

given to give you the time you need

the time you need to have the time of your life (N. Juster).

3. Consider the following extracts. Dwell on how the concepts that denote natural phenomena have been used to create the imagery representation of the characters’ mood, feelings, personality, etc. Analyze all stylistic devices employed.

a) Love is no hot-house flower, but a wild plant, born of a wet night, born of an hour of sunshine; sprung from wild seed, blown along the road by a wild wind. A wild plant that, when it blooms by chance within the hedge of our gardens, we call a flower; and when it blooms outside we call a weed; but, flower or weed, whose scent and colour are always, wild! (G. Galsworthy).

b) But from him, thus slumbering, his jealous Forsyte spirit travelled far, into God-knows-what jungle of fancies; with those two young people, to see what they were doing down there in the copse—in the copse where the spring was running riot with the scent of sap and bursting buds, the song of birds innumerable, a carpet of bluebells and sweet growing things, and the sun caught like gold in the tops of the trees; to see what they were doing, walking along there so close together on the path that was too narrow; walking along there so close that they were always touching; to watch Irene’s eyes, like dark thieves, stealing the heart out of the spring. And a great unseen chaperon, his spirit was there, stopping with them to look at the little furry corpse of a mole, not dead an hour, with his mushroom-and-silver coat untouched by the rain or dew; watching over Irene’s bent head, and the soft look of her pitying eyes; and over that young man’s head, gazing at her so hard, so strangely. Walking on with them, too, across the open space where a wood-cutter had been at work, where the bluebells were trampled down, and a trunk had swayed and staggered down from its gashed stump. Climbing it with them, over, and on to the very edge of the copse, whence there stretched an undiscovered country, from far away in which came the sounds, ‘Cuckoo-cuckoo! (G. Galsworthy).

c) Soames turned from the vault and faced toward the breeze. The air up here would be delicious if only he could rid his nerves of the feeling that mortality was in it. He gazed restlessly at the crosses and the urns, the angels, the “immortelles,” the flowers, gaudy or withering; and suddenly he noticed a spot which seemed so different from anything else up there that he was obliged to walk the few necessary yards and look at it. A sober corner, with a massive queer-shaped cross of grey rough-hewn granite, guarded by four dark yew-trees. The spot was free from the pressure of the other graves, having a little box-hedged garden on the far side, and in front a goldening birch-tree. This oasis in the desert of conventional graves appealed to the aesthetic sense of Soames, and he sat down there in the sunshine. Through those trembling gold birch leaves he gazed out at London, and yielded to the waves of memory (G. Galsworthy).

Lecture No 6

Stylistic syntax

1. General considerations. The notion of stylistic device on syntactic level

2. Syntactic stylistic devices based on the reduction of sentence model: Ellipsis , Nominative sentences, Aposiopesis (Break –in-the-narrative), Asyndeton and Apokoinu constructions.

3.Syntactic stylistic devices based on the extension of sentence model: Repetition, Enumeration, Syntactic tautology, Polysyndeton.

4.Syntactic stylistic devices based on the change of word order: Inversion, Detachment.

5.Syntactic stylistic devices based on special types of formal and semantic correlation of syntactic constructions within a text: Parallelism, Chiasmus, Parcelling, Attachment.

6. Syntactic stylistic devices based on the transporsition of sentence meaning: Rhetoric question.