2. Sd Based on Usage of the Category of Voice.

Passive Voice is widely used in fiction and in other functional styles. Except verbal forms to be + Past Participle the paradigm of the Passive Voice is presented by various constructions, in which grammatical and lexical means are combined.

Passive Voice constructions are considered to be more expressive than their Active counterparts, that’s why they are widely used in fiction:

e.g. The middle of the room was occupied by two square tables placed end to end,

and on these Aunt Julia and the caretaker were straightening and smoothing

a large cloth. On the sideboard were arrayed dishes and plates, and glasses

and bundles of knives and forks and spoons. (J. Joyce)

Usage of Passive Voice constructions gives the possibility to avoid monotony in succession of similar Active Voice constructions which follow each other:

e.g. In the year before Jannie Van der Merwe was due to be released from prison

I spent much of my free time at Sonia’s with my brother Richard. Her house

was by now a general meeting place for the district and she conducted quite a

salon every late afternoon. About this time I became engaged to marry a

research worker at the clinic. (M. Spark)

Expressive work of the Passive Voice can also be realized in antithesis:

e.g. Since to love is better then to be loved, unrequited love may be the finest love

at all. (I. Stone)

Passive Voice is often used to denote an implied agent, which is expressed by impersonal (or generalized) subject: it is assumed, believed, known, mentioned, understood that…

e.g. It was generally thought she had some coloured blood. (M. Spark)

They are widely used in scientific prose style because carefulness of judgment and certainly in conveying data are very important in it:

e.g. It is assumed throughout this section that the evidence and plausibility of

argument presented in §3 are sufficient to establish 19 a-b as valid linguistic

universals. (Language)

Passive Voice constructions are also used in colloquial style, in publicistic style and in official style. Analytical structures, synonymic correlates of Passive Voice forms are also widely used in newspapers: to find support – to be supported, to find reflection – to be reflected, to gain respect – to be respected.

e.g. The creation of a resource center finds financial support from various

institutions.

The advanced gas-cooler reactor type of nuclear stations are supported by

the government.

3. Sd Based on Usage of the Category of Mood.

Transposition is not the only way to make verbs expressive. A good many verbal forms are expressive in themselves. The Imperative mood forms are not just commands, invitations, requests or prohibitions. They are a perfect means of rendering an abundance of human emotions. The grammatical category of mood is characterized by modality and by subjective attitude of the speaker to the events and facts described.

While using the Imperative mood it’s necessary to take into consideration the following factors: age, social affiliation and social position, level of education, relations between the interlocutors. Such shades of subjective expressiveness as categoricalness, persistence, irony, threat are also very important. The meaning of utterance in the Imperative mood is also conditioned by syntactical context. Introduction of modifiers change shades of meanings of the Imperative mood. The most widely-spread modifiers are: please, kindly, pray, for god’s sake, for heaven’s sake, will you? And some others:

e.g. “For heaven’s sake keep the front door shut! Go round to the back”, shouts

someone. (K. Mansfield)

“Don’t look down”, the blood whispered in his temples, “don’t look down,

for God’s sake, don’t look down.” (W. Sansom)

Emotional-expressive meaning of the Imperative mood forms also depend on the structure of a sentence. Thus, the usage of the personal pronoun “you” intensifies sharpness of the utterance:

e.g. “Go down to the river and warn them,” I said to the boy. “All right, darling,

all right. Off you go now to lunch.” (H. Bates)

In colloquial speech usage of address also intensifies the expressiveness of speech:

e.g. Oh, Giff, don’t say that! I do want that cocktail dress. (Brand)

The Imperative mood is a characteristic feature of publicistic style and oratorical style, it is widely used in advertisement and in titles of novels and articles:

e.g. “Say No to Death” (the title of the novel) (D. Cusack)

“Stop Interference in Jamaica Poll! ” (Morning Star)

“Don’t Stand by – Fight for Your Future” (Morning Star)

There is a lot to do in America… Let’s get things done! (R. Kent)

Functional transformation is the usage of the Imperative mood forms as stylistic synonyms of the Indicative mood and the Subjunctive mood forms:

e.g. Give us time (if you give us time), and we’ll settle the princess question, too! (Carter)

“Cut off (if you cut off) those damn big feet of his, he’d go up in the air”

(Frings)

Thus, the Imperative mood sentences are a perfect means of rendering an abundance of human emotions. The sentence “Just come to me now” may contextually imply love or hate, threat or warning, promise or desire.

A wide range of Subjunctive mood forms offers a good stylistic choice of synonymous ways to verbalize one and the same idea.

The opposition of synthetical form of Subjunctive I and analytical form with “should” is very important for Stylistics. Up to the middle of the XX^th century synthetical form of Subjunctive I was considered obsolescent. But recent language investigations prove that this form is widely used in different functional styles of Modern English. It is more characteristic of the American variant of the English language. In American English usage of synthetical form of Subjunctive I is a norm of the language. The synthetical forms of Subjunctive I are mainly used in subordinate clauses but sometimes they are also used in simple sentences. Being used in a text this form creates a peculiar expressive connotation:

e.g. There it was, at its best, the Italian beauty which makes men of all nations

homesick for it, whether Italy be their home or not (B. Shaw)

“There is such a thing as virtue, you know…” “Virtue be damned!”

(S. Maugham)

Analytical form “should + Infinitive” serves for subjective-evaluative and emotional characteristic of an utterance:

e.g. But he didn’t want to faint – he did not want anybody to know. No one should

ever know. It was between him and the captain. (D. Lawrence)

“Why should I be ashamed of myself?” asked Gabriel (J. Joyce)

Combinations “would + Infinitive” express supposition and have various shades of meaning of subjective evaluation:

e.g. He could never achieve the top. It was this height of only thirty feet, as it

were three storeys of a building, he felt afraid – what would he feel at sixty feet. (W. Sansom)

Combinations “would + Infinitive” are also used to denote repetition of past actions and imply qualitative characteristic of the person or phenomenon in speech:

e.g. I remembered. Nigel would tell you anything you might ever wish to know.

When Nigel got going there was, in truth, no stopping Nigel. (W. Trevor)

Thus, transposition of verbal tense forms shows that synonymous forms have similar grammatical and stylistic meaning and gives possibility of their usage in fiction and in other functional styles.