• it adds a musical quality to the poem;

• it makes the poem easier to remember;

• it affects the pace and tone of the poem.

11 Rhvthm is

The most general definition of rhythm may be expressed as follows: «rhythm is a flow, movement, procedure, etc. characterized by basically regular recurrence of elements or features, as beat, or accent, in alternation with opposite or different elements of features»

the alternation (чередование) of stressed and unstressed syllables, more or less

regular

As a SD rhythm is a combination of the ideal metrical scheme it exists in all spheres of human activity and assumes multifarious forms (предполагает разнообразных форм) it is musical, mechanical or symmetrical as in architecture it's not only a regular pattern of sounds or movements; it's also any regular pattern in nature or in life

rhythm has a great importance not only for music and poetry, but also for prose: repetition, parallel constructions, chiasmus (перекрестный/ реверсированный повтор) rhythm intensifies the emotions

it contributes to the general sense, helps to get the flow of thoughts and humour of

the author.

rhythm adds specific importance to some ideas and feelings, it helps to create

reality in text

a rhythm in language necessarily demands oppositions that alternate: long, short: stressed, unstressed; high, low and other contrasting segments of speech.

harmony is not only a matter of similarity, but also of dissimilarity, and in good poetry, irregularities of lines are among the most important features of the poem - Actually, the beauty of the poem is less dependent upon the regularities than the irregularities of the poem.

It has expressive, symbolic and graphic functions.

Metre - is any form of periodicity in verse. The kind of the metre is determined by the number and the character of syllables of which it consists. The metre is the phenomenon characterized by its strict regularity, consistency and exchangeability.

The basic unit of metre is the foot - стопа - which consists of one stressed and one or more unstressed syllables:

lamb (iambic) -one unstressed syllable followed by one stressed syllable Trochee (trochaic) - one stressed syllable followed by one unstressed syllable Amphibrach -

Anapest (anapestic)- two unstressed syllables followed by one stressed syllable Dactyl (dactylic) - one stressed syllable followed by two unstressed syllables Spondee (spondaic) - two stressed syllbles.

5. Graphical eMs

Graphical EMs serve to convey ('служат для передачи) in the written form those emotions which in the oral speech arc expressed by intonation and stress,

in written form they are shown mostly with the help of punctuation and deliberate change of a spelling of a word: e.g. “A detective! I never 'eard of such a thing! What d’yer come 'ere for if yer want to be a detective. 'Ere. yer not big enough, ‘cos yer'd ‘ave to be a pleeceman first before they'd let yer be a detective, and they'd never ‘ave yer as a pleeceman. ” (J.D. Priestley,“ Angel Pavement”)

10

All types of punctuation can be used to reflect the emphatic intonation of the speaker, are used in many syntactical SDs:

aposiopesis (break-in-the-narrative) [You'll just come home, or I’ll ...],

rhetorical questions,

suspense - напряжение

a heading

colon

semicolon

the dash

the hypen

the exclamation, interrogative marks

Graphons is unusual, non-standard spelling of words.

• show authentic pronunciation, some peculiarity in pronouncing words or phrases emphatically - e.g. 'Thquire! Your thervant! Thith ith a bad pieth of buithnith... ' (i.e. ’Squire! Your servant! This is a bad piece of business ’.

• show features of territorial or social dialect of the speaker, e.g. 'Is that my wife? ... I see it is, from your fyce... What zvme 'as she been plying ’? You gotta tell me '(London cockney dialect); as for American English, here is an example of the Missouri Negro dialect from 'The Adventures of Tom Sawyer’- e.g. ‘You know dat one-leigged nigger dat b 'longs to old Misto Brandish? Well he sot up a bank, en say anybody dat put in a dollar would git fo' dollars mo' at en ‘er de year... ’

MORPHOLOGICAL STYLISTICS

The main notion is the transposition - a divergence between the traditional usage of a neutral word and its situational / stylistic usage. Morpholoigical EM's and SD's:

Nouns form antonomasia and personification (he'll never be a Shakespeare; snows, sands, waters).

Articles are used uncommonly (a Brown, a silly Jane, the John).

Verbs form lexical EM's and SD's (so it be; it is time 1 went).

Adjectives - epithets, comparison, attributes (crazy bicycle, tremendous achievements, idiotic shoe-laces, red colour, the most Italian car, beautifuller).

Pronouns (it's me, him. her. them, us).

The main unit of the morphological level is a morpheme - the smallest meaningful unit which can be singled out in a word. There are two types of morphemes: root morphemes and affix ones. Morphology chiefly deals w ith forms, functions and meanings of affix morphemes.

Affix morphemes in English are subdivided into word-building and form-building morphemes. In the latter case affixation may be:

1. synthetical (boys, lived, comes, going);

2. analytical (has invited, is invited, does not invite);

3. based on the alteration of the root vowel (write-wrote);

4. suppletive (go-went).

There are few language (or paradigmatic) synonyms among English morphemes and only some of them form stylistic oppositions, e.g, he lives - he does live. Come! - Do come! Don't

11