2659

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

The genre of music of the mentioned bands and singers (pop music) is indicated by their target audience – young girls whom the main character calls young devotchkas, he is also struck by their youth slang different from the slang-nadsat accepted in his circles. Analyzing their behavior and musical preferences, Alex passes to style of communication which is more suitable for conversation with the innocent kid incapable of mature thinking. There is shown the attitude of the main character towards teenage girls and music they listen; he as though feels pity to so poor intellectual and spiritual development. Thus, popular music is considered as defective, suitable for people with poor intellectual and emotional baggage.

The name of the band The Mixers also contains a gastronomic component as it causes association with the household kitchen appliance – the mixer.

The noun mixer means “a piece of equipment used to mix things together” [1**].

On the one hand, it is possible to speak about eclectic style of music in which various genres are mixed; on the other hand, the name of the band can indicate a sharp unpleasant sound which is made by the working mixer that testifies to negative attitude of the main character of the novel to music of this sort.

The nomination The Mixers occurs in the context in a general series with other modern performers and bands:

I walked in and the only other customers were two young ptitsas sucking away at icesticks (and this, mark, was dead cold winter and sort of shuffling through the new popdiscs – Johnny Burnaway, Stash Kroh, The Mixers <…>, and all the rest of that cal) [1*].

9.The first mentioned musician is called Johnny Burnaway; there is an example of the [“Name + Surname”] group).

The name Johnny as it already has been mentioned above has religious implication. The surname Burnaway consists of two bases “burn + away”. The phrasal verb burn

away means “if something burns away or is burned away, it is destroyed by fire” [1**]. The components of a surname allow carrying this nomination to the “Names having a Pyromorphous Component” group.

The sign of ardency, passion, storm of the emotions capable to reduce to ashes is stati-

cized.

10.The name of the second above mentioned singer is Stash Kroh.

The proper name Stash Kroh is used according to the [“Name + Surname”] model. The nomination Stash is used in the English language as a noun and a verb with a

general meaning. So, the noun stash means “an amount of something that is kept in a secret place, especially money, weapons, or drugs” [1**].

The surname Kroh is conformable with the Russian word “baby, tiny” and has the quantitative characteristic. Possibly, this nomination has a hint on drug addiction of young people (small secret storages of drugs).

The sign of degradation of young people and rotting of society is staticized; therefore this proper name belongs to the “Names having a morthomorphous component” group.

11. The next fictitious singer is Ned Achimota:

…and all that cal you could slooshy a pop-disc on the stereo, this being Ned Achimota singing “That Day, Yeah, That Day” [1*].

124

The performer’s name Ned Achimota is used according to the [“Name + Surname”] model and causes associations with Japan.

The name Ned is the diminutive-hypocoristic option of such names as Edward or Edmund. The name is used in England since the 14th century and has probably come from the medieval phrase expressing love, “mine Ed”, which has been transformed to “my Ned” later [8].

The surname Achimota has the hint on the Japanese musical producer and the lyric writer Yasusi Akimoto [9].

Negative attitude to the musician and his song is noted that is illustrated by means of a noun cal which serves as main hero's characteristic feature of the popular music description.

As the results of the research show, constants from various spheres of life are mentioned in the literary discourse of Anthony Burgess, the attention is focused on various cultures by involvement of many cities, regions, countries, and also isolated from the etymology of names.

Table 2 Quantitative ratio of the fictitious names correlating with the different cultures noted

in A. Burgess’s novel “A Clockwork Orange”

The culture of England (29% of the total of proper names) acts as an undoubted dominant, Germany (23%), Italy (12%), Russia (9%) come next; Greece, Israel, America (6% each country) and Denmark, Poland, Japan (3% each country) follow further.

3 models of the proper names belonging to musicians and names of bands are allocated:

“Name + Surname” (82%) – Berti Laski, Ike Yard, Otto Skadelig, Geoffrey Plautus, Odysseus Choerilos, etc.;

“Nomination of band” (12%) – Goggly Gogol, The Mixers;

“Nomination + Number” (6%) – The Heaven Seventeen.

Overwhelming prevalence of the proper names used according to the “Name + Surname” model is connected with the fact that the writer has put special sense in each name and a surname, revealing which the reader plunges into this or that culture or the sphere of activity.

125

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

Thus, the analysis of contexts with fictitious names of musicians and the nominations of bands in Anthony Burgess’s novel “A Clockwork Orange” shows that the nominations which have a hint on the political sphere in their etymology prevail (Berti Laski, Ike Yard, Otto Skadelig, Lay Quit Awhile With Ed And Id Molotov). This paradigm is connected with the fact that the writer opposed to a totalitarian political system, he considered that the option had to be reserved for each free person and for the state in general.

Negative attitude is traced in the epithets used for the description of the musical figures and their works relating to this group (starry, oldie, pathetic, very gromky, violent). In spite of the fact that in certain cases the emphasis is placed on powerful emotional influence, the key moments in perception of musical works of the specified performers are indifference with a shade of fatigue and irritation, and also a protest against imposing of dictatorship with cruelty elements.

The second place is taken by the group of proper names having a mythological component (Geoffrey Plautus, Odysseus Choerilos, Goggly Gogol). Musicians such as Geoffrey Plautus, Odysseus Choerilos work in a genre of classical music, and it has proved valid and careful attitude to their creativity that is shown on the example of the adverb neatly. However, the band Goggly Gogol working in a genre of popular music doesn’t cause similar positive emotions in the main character.

The following group of fictitious names of musicians is the group consisting of the nominations with religious implication (Johnny Zhivago, Adrian Schweigselber). It is impossible to claim unambiguously that the anthroponims entering into this group receive a positive assessment. On the one hand, the approving relation to music and its contractors is observed that is shown on the example of the use of an adjective nice, on the other hand, the meaningful surname, urging to stop talking, identifies a prohibition on expression of own opinion.

The group of names of musicians and the nominations of bands with a gastronomic component includes 2 nominations connected with a culinary dish (Goggly Gogol) and the kitchen device (The Mixers). Music of the specified contractors belongs to a genre of popular music. The sign of negative attitude to pop music as in it the deep meaning is not pledged is staticized, it does not require any intellectual energy, and, therefore, does not lead to spiritual growth.

The fictitious name of the musician Claudius Birdman is an example of a name having an ornithomorphous component. The analogy drawn with a bird symbolizes a flight of fancy and ease of music. Goodwill to music of this composer is shown on the example of epithets (very nice, malenky).

The proper name Friedrich Gitterfenster forms the group of names-artifacts. The prepotent name contradicts the surname meaning “a window with a grid”. This nomination causes contradictory emotions as force, power are unrealized and not dissipated that causes irritation and rage from powerlessness before irresistible circumstances.

The case proper name with figure 17 (The Heaven Seventeen) symbolizes emotion of pleasure and deep satisfaction since the hint on the phraseological unit is observed “to be in the seventh heaven”.

The group of names of musicians having a pyromorphous component is formed by the name Johnny Burnaway. The sign of ardency, passion, a storm of emotions is staticized.

The proper name Stash Kroh has a morthomorphous connotation. The sign of destruction and self-destruction, and also degradation and decomposition of society is realized.

In a name of the musician Luke Sterne with a cosmological component the sign of idolatry and fanaticism is staticized; the musician is perceived by listeners as a star.

The name of the musician Ned Achimota contains a geographical component; there is a hint to Japan.

126

Negative attitude, negligence to popular music is shown in A. Burgess’s novel “A Clockwork Orange”. This attitude is expressed by means of estimated lexemes: pathetic, cal. Pop music is considered as defective, suitable for people with poor intellectual and spiritual development.

Classical music, in turn, is characterized as a source of powerful emotional impact and spiritual growth. The sign of care and respect for musicians is staticized that is shown on the example of adjectives and adverbs with a positive connotation (neatly, nice, gromky, violent).

The reason of use of fictional musicians names and the names of nonexistent bands is that the writer realized that any musician and furthermore the youth pop group loses popularity over time, and their music quickly becomes outdated and loses relevance. Anthony Burgess in the novel “A Clockwork Orange” has created the names and nominations which are not attached to any historical period. Action of the novel is developed during some uncertain era. Even for the reader reading the book in decades from the moment of its creation, names of musicians and the nomination of bands do not seem obsolete. A. Burgess’s decision to include in the novel names of fictitious singers and composers, and also names of popular bands instead of new songs actual at the time of writing and a release of the novel has relieved a work of art of belonging to a certain musical period.

Bibliographic list

1.Zvegincev V.A. Istoriya yazykoznaniya XIX i XX vekov v ocherkah i izvlecheniyah : [v 2 ch.] / V.A. Zvegincev. – M., 1960. – CH. 1.

2.Uorf B.L. Otnoshenie norm povedeniya i myshleniya k yazyku / B.L. Uorf // Novoe v zarubezhnoj lingvistike. – M., 1960. – Vyp. 1.

3.Ter-Minasova S.G. YAzyki i mezhkul'turnaya kommunikaciya / S.G. Ter-Minasova // Uchebnoe posobie. – M.: Slovo, 2000. – 262 s.

4.Fomina Z.E. Nemeckie nacional'no-kul'turnye maksimy v nominaciyah skazok brat'ev Grimm / Z.E. Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya. – 2010. – Vyp. 2 (14) – S. 25–36.

5.Vinogradov V.V. K sporam o slove i obraze / V.V. Vinogradov. – M.: «Voprosy literatury», 1960. – № 5. – S. 66–96.

6.Merkulova N.V. Metodika issledovaniya hudozhestvennogo teksta na osnove analiza ehsteticheskoj onomastiki (na materiale romana G. Flobera «Gospozha Bovari») / N.V.

Merkulova // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya. – 2015. – Vyp. 4 (28) – S. 110– 125.

7.Biryukov B.V. Teoriya smysla Gotloba Frege [Elektronnyj resurs] / B.V. Biryukov // Sb.: Primenenie logiki v nauke i tekhnike. – M., 1960. – S. 502–555. – URL: http://nounivers.narod.ru/bibl/bb_sf.htm (data obrashcheniya: 19.03.2016).

8.Behind the name: the etymology and history of first names : [sajt]. – URL: http://www.behindthename.com (data obrashcheniya: 23.03.2016).

9.Vikipedia: svobodnaya ehnciklopediya : [sajt]. – URL: https://ru.wikipedia.org (data obrashcheniya: 23.03.2016).

10.Bykov D.L. Boris Pasternak / D.L. Bykov. – 7-e izd. – M.: Molodaya gvardiya, 2007. – S. 722–736.

11.Bibliya. Vethij i Novyj zavety. Sinoidal'nyj perevod // Biblejskaya ehnciklopediya.. arh. Nikifor. – 1891. – URL: http://enc-dic.com/bible/Gog-34325.html (data obrashcheniya: 25.04.2016).

127

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

Dictionaries used

1**.The Longman Dictionary of Contemporary English Online : [sajt]. – URL: http://www.ldoceonline.com (data obrashcheniya: 23.03.2016).

2**.Dict.com.ua : Inostrannye slovari : [sajt]. – URL: http://dict.com.ua/Meyers_Groes_Konversations_Lexikon/page/Chrlos.22305/ (data obrashcheniya: 03.04.2016).

3**.Onlajn-slovar' ABBYY Lingvo-Online : [sajt]. – URL: http://www.lingvoonline.ru (data obrashcheniya: 05.03.2016).

128

UDC 821.111-93

Voronezh State Pedagogical University The chair of English language,

PhD, associate professor Kapkova Svetlana Yurievna e-mail: kapk@list.ru

Voronezh State Pedagogical University Assistant of the Department of English language

Churilova Yulia Vladimirovna e-mail: jchurilova@yandex.ru

S.Yu. Kapkova, Yu.V. Churilova

ENGLISH FAIRY LEXICON

AND STYLISTIC PECULIARITIES OF ITS FUNCTIONING

The article (on the material of children`s English folk tales) presents an analysis of stylistic features of fairy lexicon. The examples are discussed from the standpoint of artistic vocabulary features for each analyzed group. Particular attention is paid to the form of the verbal interaction of the characters where a characteristic feature is the use of a compression, common to spoken English, which is also widely represented in English folk tales.In their research the authors described seven major stylistic tendencies of use of fabulous lexicon (the anthropomorphic characters-animals, the category of fairy tale characters and magical creatures, lexical and grammatical repetition, onomatopoeia, compression, redundancy, the use of colloquial conversational forms and idioms) and its functioning (negative and/or positive feature of fairy characters; creating fairy fabulousness; naming of magical creatures, etc.) with the help of methods and techniques of descriptive and functional analysis.

Keywords: English folk tale, toponym, onomatope, lexical and grammatical repetition, compression, redundancy, colloquial conversational form.

Numerous plots of tales were created over the centuries by collective creative efforts of different peoples. Storylines are diverse and unique because they evolved over the centuries in close connection with the life and the whole life of mankind. A thousand-year history of the nation reveals to the reader through the prism of the fictional events. The originality and uniqueness are explained by the qualities of the people that owns a fabulous invention, circumstances of origin and the role of fairy tales in their life.

The complexity of studying the texts of the tales provokes a great scientific interest in various fields. There is a fabulous variety of genres but the construction of any fairy tale takes place according to the certain rules. V.Y. Propp singled out three principles that correspond to all tales in the world: 1) the constant elements of the tale are the functions of the characters; 2) the number of functions is limited; 3) the sequence of functions is always the same [1]. Z.E. Fomina in her work emphasizes that «there is an undeniable anthropocentricity» in fairy tales [2, p. 28].

___________________________________

© Kapkova S.Yu., Churilova Yu.V., 2016

129

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

The language of English folk tales is extremely rich by the presence of both lexical and stylistic means. According to N.V. Glukhova «the use of metaphors in the tale is not only a stylistic mechanizm and a systemic symptom of the story but it is also a metaphor accumulates the wisdom of objectivity information about the environment, about the basic cultural and moral values» [3, p. 82]. The translation of the fairy tales is confronted with the presence of realities and special fairy lexicon, so the «translation of children's literature is accompanied by many difficulties and requires a special approach» [4, p. 151].

Lexical means of fairyfabulousness where anthropomorphic characteristics act as a valuable dominant is revealed in tales about animals: skill, wit, intelligence, dexterity, slyness. According to T. N. Astafurova and N. A. Akimenko «in the ancient genre of English fairy tales about animals there are no lexemes in the semantics of which the notion of fairy tales is fixed» [5, p. 131].

The area of our linguistic interests includes a multidimensional study of English children's literature including folk and original works of classic and contemporary. The subject of this research is English fairy lexicon, the objectives of the study include the identification and description of its stylistic features as well as the analysis of the functions of the lexicon based on the material of English children's folk tales. We have analyzed nine folk tales at random from a collection of English Fairy and Other Folk Tales («The Three Sillies», «How Jack Went to Seek His Fortune, Jack and the Beanstalk», «Mr. Vinegar», «The Story of the Three Little Pigs», «The Story of the Three Bears», «The Jack the Giant Killer», «Tom Thumb» and «The Magpie's Nest») [1*].

In our study using selected examples and quantitative analysis it was found that the largest lexical-semantic group is birds (the thrush, the magpie, the blackbird, the dove, the owl, the starling).

According to our observations, the lexical-semantic birds group is represented in 12 nominations, the magical creatures and fairytale characters groups have 8 nominations each, the group fairytale objects has 4 nominations, wizards and toponyms groups have 3 nominations respectively.

Character «magic» anthropomorphism of animals is characterized by:

1)Negative and/or positive characteristics (the silly dove/the wise owl).

2)Emotional-communicative activities based on the idea of ancient people about the «universal speaking of nature, the lack of clear boundaries between animals and human characters» according to V.Y. Propp [1], for example:

«All the birds of the air came to the magpie and ask her to teach them how to build their nests»;

««Oh, that’s how it’s done, said the thrush, and away it flew»;

«That suits me», cried the starling, and off it flew» [1*; 2*].

3) Characters’ use of names in relation to the main character: the magpie – Madge Magpie – Taffy.

In fairy tales lexical means of fairyfabulousness nominates:

1)Magic creatures – ghost, spirit, dragon, giant, imp, monster, ogre and etc.

2)Fairy beings – elf, fairy, brownie, goblin, pixie and etc. Lexeme fairy can be often found in fairy tales and it is stylistically neutral.

3)Magicians – enchanter, sorcerer, witch, hag and etc.

Toponyms among which there are toponymic periphrases formed as a result of denomination of microtoponyms [6] also act as lexical means of fairyfabulousness (the Forest of No Return, Bridge of One Hair, The Land of Fairy) including onyms and nickname categories of fairy creatures, belonging both to the underworld and the earthly world (Tom Thumb, The Jack the Giant Killer, etc.) [1*, 2*].* As it is well known, «the name itself is nothing but

130

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 2 (13), 2016

a sign, an omen (nomen est omen). There is some historical and cultural information under every name rooted in deep layers of the formation of mythology, philosophy, culture, history, etc.» [7].

Fairyfabulousness is transferred by phraseological units, verbs, adjectives denoting events, actions or supernatural qualities: when pigs spoke rhyme, and before you could say Jack Robinson, a hen that lays the golden eggs; monstrous, magic, wonderful and etc. [1*, 2*]. Domestic tales, in comparison with fairy tales about animals and magic fairy-tales, are the most similar to reality. In such texts there are no practically fairy fabulous vocabulary, however, there is a description of «magical» and special situations with the help of nonsense (a mare's egg) which brings original, magic and at the same time comic effect.

In addition, in domestic tales lexical repetitions and parallel structures are widely used, some grammatical structures are constantly repeated. For example, in the tale «The Three Sillies» the characters one by one repeat the phrase «Dear, dear! What a dreadful thing it would be! » that adds a kind of comical, even ironic tragedy to the story [1*, 2*]. The first part of the tale «How Jack Went to Seek His Fortune» is built on the repetitions:

Firstly, different characters ask the same question «Where are you going, Jack?». The answer is always the same: «I am going to seek my fortune».

Secondly, phrases «the more the merrier» and «Jiggelty-jolt, jiggelty-jolt» are repeated by Jack after the meeting with every new character [1*, 2*].

Thirdly, the structure and vocabulary of the sentence «They went a little further and they met a dog/ a goat/ a rooster» [1*, 2*] remains unchanged except for the last noun denoting an animal or a bird.

Finally, at the end of the story the narrator repeats the same sentence changing, as in the previous example, only the noun – the name of the animal: «That was the..., you know». Fairy tale «Jack and the Beanstalk» is also abounds with lexical and grammatical repetitions:

«and he climbed and he climbed and he climbed and he climbed and he climbed and he climbed till at last he reached the sky»; «he walked along and he walked along and he walked along till he came to a great big tall house, and on the doorstep there was a great big tall woman» [1*, 2*].

In the fairy tale «The Story of the Three Little Pigs», as in previous tales, parallel structures and lexical repetitions are widely used. Here is an example:

«Then I'll huff, and I'll puff, and I'll blow your house in». «So he huffed, and he puffed, and he blew his house in, and ate up the little pig» [1*, 2*].

The sentence «Which the man did, and the little pig built a house with it» [1*, 2*] is repeated three times, after the meeting of each Piglet with a human – the magic assistant. Comparing the original and the Russian version of the «Tale of the three little pigs», we come to the conclusion that the song of Russian pigs «We are not afraid of the grey wolf...» sounds more optimistic than one of the British pigs: «No, No, by the hair of my chiny chin chin» [1*, 2*]. The use of parallel constructions and repetitions in the text of fairy tales adjusts to the orderly development of the storyline, conformity of the plot according to certain rules, to the order of the narration. Lexical repetitions often give the story ironic and comical tone.

The sound side of a fiction text for children plays a big role in the creation of expressiveness and the intensification of imagery of the text [6, p. 19-20]. In the tale of «Mr. Vinegar» the repeated phrase is found: «If I had but...,» I should be the happiest man alive» [1*, 2*]. It should be noted that in this tale, as in the tale «How Jack Went to Seek His Fortune», onomatopes «clitter-clatter, clitter-clatter» and «tweedle-dum, tweedle-dee» are used. The

131

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

expressive structure of the first complex word is based on the alliteration of sound [kl], the initial sound of both frameworks and the repetition of a consonant sound [t]. As for the second onomatope, in the basis of its structure there is the alternation of consonants [tw] and [d] and vowel sounds [ʌ] and [i:] (dum – dee). The combination of certain consonant sounds may increase a certain fairy fabulous atmosphere to create mystery, tension of a particular episode of the narration, or, conversely, to create a feeling of serenity and peace, to convey the sounds of animate and inanimate nature (the sounds of animals and people; the chirping of birds; the murmur of the brook, rain drops, etc.).

In most English folk tales non-normative (colloquial) verb forms are used: we was/ they was to («The Three Sillies») «she sate down» («The Story of the Three Bears») and others [1*]. Moreover, the cow and the moon in the English fairy tale «The Three Sillies» are denoted by the feminine pronoun «she», not the neuter pronoun «it». On the one hand, this means that fairy tales are characterized by the animation of objects which are grammatically inanimate, which undoubtedly is one of the characteristics of fairy tales. On the other hand, inappropriate use of grammatical forms indicates the approach of the text of tales to spoken language.

The language of English folk tales, in our opinion, is a good basis for studying the peculiarities of the colloquial speech of the English. Compression has a great stylistic role in fairy tales, leading to incompleteness of expression. A characteristic feature of the English spoken language is the usage of reduced forms, that is clearly reflected in folk fairy tales, according to N. A. Akimenko [9, p.18]. Among the analyzed fairy tales «Jack and the Beanstalk» comes in first place for the use of the phonetic reduction of auxiliary verbs. Some examples of it:

they didn't know (they did not know), we've tried (we have tried), it's market-day today (it is market-day today), I'm going (I am going), you don't say (you do not say), it doesn't turn out to be (it does not turn out to be), hadn't gone (had not gone), it wasn't (it was not), you haven't got (you have not got), you've sold (you have sold), it can't be (it cannot be), you couldn't guess (you could not guess wants), I've had nothing to eat (I have had nothing to eat), you're dreaming (you are dreaming), he's asleep (he is asleep), he didn't think (he did not think) [1*, 2*].

A wide application of contraction – form `ll – promotes the lack of the distinction between the auxiliary verbs shall and will when using the future tense. For example, in the fairy tale «Jack and the Beanstalk»: I'll go, we'll see, you'll never guess, he'll soon be coming, breakfast'll be ready [1*, 2*].

We see that the characters have completely different attitude to their wives by the example of two tales, «Jack and the Beanstalk» and «Mr. Vinegar». In the first tale the maneater speaks to his wife only in the imperative form: «Wife, bring me the hen that lays the golden eggs»; «Wife, wife, bring me my golden harp» [1*, 2*]. Though the wife calls the man-eater «my dear», «my dearie». The main character of the fairy tale «Mr. Vinegar» communicating with his wife, on the contrary, uses a very gentle or respectful treatment, such as «My dear», «My love», «Mrs. Vinegar». In English fairy tales words related to the spoken-familiar style are frequently used. For example, «Oh, you look the proper sort of chap to sell cows» or «Well, the man-eater's wife wasn't such a bad sort» [1*, 2*]. So it becomes clear that the words chap and sort in this context are familiar-colloquial, therefore, their usage makes the text of fairy tales still closer to the spoken language of the English themselves.

The tendency of redundancy opposite to compression is associated with spontaneous conversational speech. According to I.V. Arnold, so-called « time fillers», that is without semantic meaning of a word, for example, «well», «you see», «I mean» should be also re-

132

ferred to redundant elements [10, p. 275]. The usage of the interjection well is widely common in fairy tales. Comparing the frequency of the usage of that word in the fairy tales we have analyzed, we came to the conclusion that the word well is found more often in the tale «Jack and the Beanstalk» – 8 times, then follows the tale «The Story of the Three Little Pigs» – 3 times. The most frequent in all analyzed fairy tales is the usage of the adverb then, which demonstrates colloquial speech of fairy tale characters.

What is also important is to note that in many English fairy tales phraseological units are often used and they make characters closer to us in speech-making who speak like ordinary people in real life. Among the idioms in the story «Jack and the Beanstalk» are sustainable comparative units are used «as sharp as a needle», «as hungry as a hunter», «as bold as brass» [1*, 2*]. Also there are such sentences as: «I may as well be broiled, as die of hunger». «Then Jack crept out of the oven on tiptoe and caught hold of the golden hen, and was off before you could say ‘Jack Robinson’».[1*, 2*]. In the fairy tale «Mr. Vinegar» the following phrases are used: «she jumped for joy», «perfect in every way» [1*, 2*].

As the displacement of adjectival pronouns much many with the usage of a lot (lots) of, a good (great) deal of takes place in the spoken language there is a similar tendency in fairy tales. In the tale of «The Three Sillies» the following example is found: «So there was a whole lot of sillies bigger than them three sillies at home» [1*, 2*]. The use of low colloquial forms of them instead of those is another example of the use of spoken speech in the fairy tale.

In our opinion, it should be noted that in a conversational style the analytical form of formation of degrees of comparison of adjectives with more and most as a speech feature is frequently used, but not a required synthetic forms with the inflections –er and –est. As a rule, it is typical for the formation of degrees of comparison two-syllable adjectives. However, in the tale «The Three Sillies» we find the following example: «I do think trousers are the most awkwardest kind of clothes that ever were» [1*, 2*]. Here we see the simultaneous usage of both analytical and synthetic forms of formation of the degrees of comparison of adjectives. So the speaker wants to emphasize all the «inconvenient» trousers, using the colloquial form.

According to the researcher A. V. Smirnov, «the verbs and nouns in the texts of English folk tales of all genres tend to full meaning and are able to realize their value without the help of other parts of speech or any clarification, and this self-sufficiency of the main parts of speech is a feature of the language picture of the world of the fairy tale» [11, p. 6]. In English folk tales the common fact is the usage of obsolete low colloquial forms, which in theoretical grammar of English and other languages are called as a status category. For example, «She began a-thinking; they started a-crying; he burst out a-laughing» («The Three Sillies»). «...if it hadn't been for that little fellow on top of the house, who kept a- hollering...» («How Jack Went to Seek His Fortune»). «There, sure enough, was the great big tall woman a-standing on the door-step» («Jack and the Beanstalk»). «So the gentleman burst out a-laughing...» («The Three Sillies») [1*, 2*]. The use in speech of colloquial vernacular forms of fairytale characters is interesting from a linguistic point of view. A striking example of such forms in the above example is «kept a-hollering» [1*, 2*]. In most English fairy tales, the phrase is found «to seek one's fortune», the Russian equivalent of which is the phrase «went to seek happiness», most of the tales finish with the words «...and lived happy ever afterwards» that is associated with the sentence «And they lived happily ever after» by Russian people.

Having analyzed nine English folk fairy tales, we identified and described seven main stylistic directions of the usage of fairyfabulous vocabulary: anthropomorphic of charactersanimals, the category of fairy tale characters and magical creatures, lexical and grammatical repetitions, onomatopoeia, compression, redundancy, the usage of colloquial conversational

133