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Файл:Стилистика английского языка. Практикум для студентов 4 курса, направление подготовки «Педагогическое образование»
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8. The clock had struck, time was bleeding away. – A. Huxley.
9. Mother Nature always blushes before disrobing. – Y. Esar.
10.Break, break, break On thy cold gray stones, O Sea! – A. Tennyson.
11.Like a sigh, the breath of a living thing, the smoke rose. – K. Prichard.
12.In November a cold, unseen stranger, whom the doctors called Pneumonia, stalked about
the colony, touching one here and there with his icy fingers. – O. Henry.
13.Only empty heads and empty hearts can do that. – N. Peale.
14. ...there would follow splendid years of great works carried out together, the old head
backing the young fire. – J. Kilty.
15.She saw around her, clustered about the white tables, multitudes of violently red lips,
powdered cheeks, cold, hard eyes, self-possessed arrogant faces, and insolent bosoms. – A.
Bennett.
16.Blue suit grinned, might even have winked. But big nose in the grey suit still stared. – J.
Pristley.
17.I came to the place where the Stars and Stripes stood shoulder to shoulder with the Union
Jack. – J. Steinbeck.
18.She was a sunny, happy sort of creature. Too fond of the bottle. – A. Christie.
19.He made his way through the perfume and conversation. – I. Shaw.
20.I think that we can, together, contrive to shut the gleefully gossiping mouths. – C. Coulter.
21.Every Caesar has his Brutus. – O. Henry.
22.She was a sugar Aphrodite, though with faintly bruised eyes, risen from a bed of white
linen. – J. Fowles.
23.“Tales of Master Tommy Goodchild and Miss Biddy Benevolent” – A title of a children’s
book.
24.I agree with you, Mr. Logic!
25.“But of course you don’t even know who You-Know-Who is!” “You think that He-WhoMust-Not-Be-Named is still alive, then?” – J. Rowling.
26. There are three doctors in an illness like yours: Dr. Rest, Dr. Diet, and Dr. Fresh Air. – D.
Cusack.
27. “Thief,” Pilon shouted. “Dirty pig of an untrue friend.” – J. Steinbeck
28.There is a sort of “Oh-what-a-wicked-world-this-is-and-how-I-wish-I-could-do-somethingto-make-it-better-and-noble” expression about Montmorency that has been known to bring the
tears into the eyes of pious old ladies and gentlemen. – J.K. Jerome.
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29.Dave does a there-I-told-you-so look. – A. Wesker.
30.“That’s fine,” Hal said easily, lightly, in a take-it-or-leave-it voice. – J. Buchan.
31.The servants were permitted to hold evening prayer in the kitchen, under Mrs. Fairley’s
indifferent eye and briskly wooden voice. – J. Fowles.
32.Mary was the neice of a cousin of Mrs. Fairley, who had wheedled Mrs. Poulteney into
taking the novice into the unkind kitchen. – J. Fowles.
33.There was an adenoidal giggle from Audrey. – St. Barstow.
34. He drank his orange-juice in long cold gulps. –I. Shaw.
35.Dudley subsided into scarlet-faced silence. – J. Rowling.
36.She stood plumply in the door – J. Fowles.
37.She stood with her grim purse of a mouth wide open – J. Fowles.
38.His arm about her, he led her in and bawled, «Ladies and worser halves, the bride!» – S.
Lewis.
39.The hospital was crowded with the surgically interesting products of the fighting in Africa. –
I. Shaw.
40...I contracted pneumonia, in that day a killing disease. I went down and down, until the wing
tips of the angels brushed my eyes. – J. Steinbeck.
41.She was still fat; the destroyer of her figure sat at the head of the table. – A. Bennett.
42.I am thinking an unmentionable thing about your mother. – I. Shaw.
43.«It was you who made me a liar», she cried silently. – M. Wilson.
44.I’ve made up my mind. If you’re wrong, you’re wrong in the right way. – J.B. Priestley.
45.They never talked, and seemed always completely occupied in doing nothing. – J.
Galsworthy.
46.He flung himself at his music as if it were a beloved enemy. – M. Stewart.
47.Mrs. Nork had a large home and a small husband. – S. Lewis.
48.And upstairs in her room June sat at her open window, where the spring wind came, after
its revel across the park, to cool her hot cheeks and burn her heart. – J. Galsworthy.
49.Stony smiled the sweet smile of an alligator. – J. Steinbeck
50.Try this one, “The Eye of Osiris.” Great stuff. All about a mummy. Or Kennedy’s “Corpse
on the Mat” – that’s nice and light and cheerful, like its title. – D. Sayers.
51.It was a mistake... a blunder ... lunacy... – W. Deeping
52.That’s a nice girl; that’s a very nice girl; a promising girl. – Ch. Dickens.
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53.He felt borne on wings of fire, hurtling, but in such tender air, like a child at last let free from
school, a prisoner in a green field, a hawk rising. – J. Fowles.
54.Women have a wonderful instinct about things. They can discover everything – except the
obvious. – O. Wilde.
55....they ...were absolutely quiet; eating no apples, cutting no names, inflicting no pinches,
and making no grimaces, for full two minutes afterwards. – Ch. Dickens
56.This war-like speech, received with many a cheer,
Had filled him with desire of flame, and beer. – G. G. Byron.
57.And as he was capable of giant joy, so did he harbor huge sorrow, so that when his dog
died, the world ended. – J. Steinbeck.
58.If you value your lives over your complete annihilation, listen carefully, Leonidas. Xerxes
conquers and controls everything he rests his eyes upon. He leads an army so massive it
shakes the ground with its march. So vast it drinks the rivers dry. – “The 300 Spartans”.
59.The little woman, for she was of pocket size, crossed her hands solemnly on her middle. –
J. Galsworthy.
60.“How slippery it is, Sam.”
“Not an uncommon thing upon ice, Sir,” replied Mr. Weller. – Ch. Dickens.
61.He was laughing at Lottie but not unkindly. – A. Hutchinson.
62.If a continental youth wants to declare his love to a girl, he kneels down, tells her that she is
the sweetest, the most charming and ravishing person in the world, that she has something in
her, something peculiar and individual which only a few hundred thousand other women have,
and that he would be unable to live one more minute without her. Often, to give a little more
emphasis to the statement, he shoots himself on the spot. This is a normal, week-day
declaration of love in the more temperamental continental countries. In England the boy pats
his adored one on the back and says softly: ‘I don’t object to you, you know.’ If he is quite
mad with passion, he may add: “I rather fancy you, in fact”. If he wants to marry a girl, he
says: ‘I say … would you? …’ If he wants to make an indecent proposal: ‘I say … what about
…’ – G. Mikes.
63.In England rudeness has quite a different technique. If somebody tells you an obviously
untrue story, on the Continent you would remark ‘You are a liar, Sir, and a rather dirty one at
that.’ In England you just say ‘Oh, is that so?’ Or ’That’s rather an unusual story, isn’t it?’ …
In the last century, when a wicked and unworthy subject annoyed the Sultan of Turkey or the
Czar of Russia, he had his head cut off without much ceremony; but when the same happened
in England, the monarch declared: ‘We are not amused’; and the whole British nation even
now, a century later, is immensely proud of how rude their Queen was.
Terribly rude expressions (if pronounced grimly) are: ‘I am afraid that…’ ‘unless…’
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‘nevertheless …’ ‘How queer’ and ‘I am sorry but…’ – G. Mikes.
64.“Have you been seeing any spirits?” inquired the old gentleman. “Or taking any?” added
Bob Allen. – Ch. Dickens.
65.“Sally,” said Mr. Bentley in a voice almost as low as his intentions, “let’s go out in the
kitchen.” – Th. Smith.
66. The rich arrived in pairs and also in Rolls Royces.
67.There comes a period in every man’s life, but she’s just a semicolon in his. – S.Evans.
68.“I was such a lonesome girl until you came, “ she said. “There’s not a single man in all this
hotel that’s half alive. “
“But I’m not a single man,” Mr.Topper replied cautiously.
“Oh, I don’t mean that,“ she laughed. “And anyway I hate single men. They always propose
marriage.” – Th. Smith.
69.“Did you hit a woman with a child?” “No, Sir, I hit her with a brick.” – Th. Smith.
70.“I shall be delighted to give you an hour of my company and a cup of my best Earl Grey,”
she told me. – V. Holt.
71.She opened the door and her heart to the orphan.
This is the true philosopher's stone. – The joke epitaph a friend composed for Th. Hobbes.
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Section2.Syntacticalexpressivemeans
SEM are deviations from regular, normative, usual syntactical structures aimed at producing
some stylistic effect.
1. based on the
absence
a) ellipsis
b) one-member sentence
c) aposiopesis
d) asyndeton
2. based on the
presence
a)repetition:
anaphora (initial)
epiphora (final)
anadiplosis (catch-repetition)
framing (ring)
morphological repetition
of logically necessary elements:
of extra elements:
distant repetition
b)polysyndeton
c)syntactic tautology
d)parenthesis
3. based on the
unusual arrangements
a) inversion
4. based on the
interplay
of adjoining sentences:
a)parallelism
b)chiasmus
5. based on peculiarities of
a)detachment
b)parcellation
connections
of the units of the utterance:
:
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Ellipsis –
1.
deliberate omission of at least one member of the sentence. Mainly used in
dialogue where it is consciously employed by the author to reflect the natural omissions
characterizing oral colloquial speech. Often ellipsis is met close to dialogue, in author's
introductory remarks commenting the speech of the characters. The main function - achieving
the authenticity and plausibility of fictitious dialogue. Elliptical remarks in prose resemble stage
directions in drama. Both save only the most vital information letting out those bits of it which
can be easily reassembled from the situation.
Ellipsis is the basis of the so-called telegraphic style, in which connectives and redundant
words are left out. The biggest contributors to the telegraphic style are
one-member
sentences, i.e. sentences consisting only of a nominal group, which is semantically and
communicatively self-sufficient. One-member sentences are mostly used in descriptions, where
they produce the effect of a detailed but laconic picture foregrounding its main components;
and as the background of dialogue, mentioning the emotions, attitudes, moods of the speakers.
E.g. Malay Camp. A row of streets crossing another row of streets. Mostly narrow streets.
Mostly dirty streets. Mostly dark streets.
Aposiopesis –
a sudden break, leaving the sentence unfinished – is used mainly in the dialogue
or in other forms of narrative imitating spontaneous oral speech. It reflects the emotional or/
and the psychological state of the speaker: a sentence may be broken because the speaker's
emotions prevent him from finishing it. Another cause of the break is the desire to cut short the
information with which the sentence began. In many cases break is the result of the speaker's
uncertainty as to what exactly he is to promise (to threaten, to beg etc). To mark the break,
dashes
Asyndeton – t
and dots are used. E.g. My God! If the police come – find me here –
he omission of conjunctions between words, phrases, or clauses. E.g.: I came, I
saw, I conquered. The principle effect is to produce a hurried, dynamic rhythm in the
utterance. E.g.: The air was thick, warm, heavy, sluggish. (J. Conrad)
2. Any
repetition
of a language unit will inevitably cause some slight modification of meaning.
The meaning of the repeated word is not equal to the meaning of 1 separate word. The
repeated word acquires connotations, new shades of meaning, undergoes a certain enlarging of
meaning.
Functions of repetition:
1) Emphasis (intensification) of the most important part of the utterance.
2) Emotive colouring
3) To show durability, monotony, frequentative character of the action.
4) To understand the logical connection between the parts of the utterance (catch
repetition)
5) To give a specific rhythm and tone to the narration
6) Tautological rhyme (epiphora, oriental poetry)
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Distant repetition
occurs in a longer space of a text: not in a sentence, but on a page/
paragraph, or it may reappear all through the book. It acquires a symbolic force affecting the
nature of the work and our response to it.
E.g. the word rain in “Farewell to Arms” by Hemingway
Syntactic tautology
is the repetition of a part of the sentence expressed by a noun in the form
of a pronoun for the sake of emphasis. E.g. nursery rhymes, folk poetry: three little kittens
they washed their mittens, the Queen of the hearts she made some tarts.
Parenthesis
is an explanatory / qualifying sentence, phrase, word which is inserted in a longer
passage without being grammatically connected with it. It is marked by commas, brackets or
dashes.
Functions:
1. To create the atmosphere of intimacy between the writer and the reader, to involve the
reader into the action.
2. To change the tone of the narration, to make the speech emotionally coloured, to show
the author’s attitude to the things described.
3. To give the utterance a colloquial tinge.
4. To create a humorous effect.
Due to the parenthesis the narration is conducted in two planes, the succession of events is
given and the author’s commentary on them.
Parallel constructions
4.
are identical syntactical patterns closely following one another.
E.g. What we anticipate seldom occurs, what we don’t expect generally happens.
When I do right, no one remembers, when I do wrong, no one forgets.
Complete parallelism occurs when the construction of the second phrase fully copies that of
the first; partial – when only parts of succeeding sentences are structurally similar.
Functions:
1. Helps to stress the common meaning in two parallel constructions and to understand
this common meaning through analogy.
2. Enhances the effect of the stylistic device used together with parallel construction.
3. Strongly affects the rhythmical organization of the paragraph and is often used in
oratory, pathetic and emphatic extracts.
Chiasmus
or reversed parallelism implies the change of syntactic relations. The central part of
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the sentence, the predicate, remains the hinge around which syntactical changes occur: the
subject of the first clause becomes the object of the second or vice versa. Similar to parallelism
chiasmus often cooperates with repetition.
E.g. I know the world and the world knows me.
Functions:
1. Helps to render additional emphasis.
2. Special rhythm is achieved due to it.
3. Some semantic changes appear due to these constructions.
5. Detachment
is a syntactical stylistic device consisting in separating a secondary part of a
sentence from the word to which it refers both logically and grammatically. E.g. He wasn’t
much of a businessman – too emotional.
Functions:
1. Helps to break the monotony of the narration.
2. Gives a greater prominence to the isolated part.
3. Helps to convey the emotional attitude to what is described.
Parcellation
– the breaking off of the syntactic relations between a word or a phrase and the
sentence. Graphically it is expressed by a full stop. E.g. It wasn't his fault. It was yours. And
mine.
Functions:
1. Emphasis of the parcellated part.
2. Gives an imitation of natural, colloquial speech.
3. Makes the narration compact, dynamic.
4. When the parcellated phrase has weak semantic connections with the sentence, the
effect can be comical, ironic.
PRACTICE
Identify the syntactical expressive means in the following quotations, comment on their
stylistic effect:
1. A black February day. Clouds hewn on ponderous timber weighing down on the earth:
an irresolute dropping of snow specks upon the trampled wastes. Gloom but no veiling of
angularity. The second day of Kennicott’s absence. – S. Lewis
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2. – Very windy, isn’t it? – Very. – But it’s not raining. – Not yet. – Better than yesterday.
3. Through his brain, slowly, sifted the things they had done together. Walking together.
Dancing together. Sitting silent together. Watching people together. – P. Abrahams.
4. I was aware of silence – the eerie silence of an ancient house. – V. Holt.
5. It was dark, but no darker than the darkness in my mind. – Buchan.
6. She left without a word. Without a look. – S. James.
7. He prayed she would forgive him. That God would forgive him. Because if anything
happened to her, he would never forgive himself. – S. James.
8. ... the photograph of Lotta Lindsbeck he tore into small bits across and across and
across. – E. Ferber.
9. It was better that he knew nothing. Better for common sense, better for him, better for
me. – Ch. Dickens.
10. He ran away from the battle. He was an ordinary human being that didn’t want to kill
or be killed, so he ran away from the battle. – St. Heym.
11. Mr. Winkle is gone. He must be found, Sam – found and brought back to me. – Ch.
Dickens.
12. «You, Sir», said Snawley, addressing the terrified Smike, «are an unnatural, ungrateful,
unlovable boy». – Ch. Dickens.
13. «She says – you know her way – she says, «You’re the chickenest-hearted, feeblest,
faintest man I ever see». – Ch. Dickens.
14. “She must leave – or-or, better yet – maybe drown herself – make away with herself
in some way – or – “ – Th. Dreiser.
15. And it was so unlikely that any one would trouble to look there – until – until – well. –
Th. Dreiser.
16. What about the gold bracelet she’d been wearing that afternoon, the bracelet he’d
never seen before and which she’d slipped off her wrist the moment she realized he was in the
room? Had Steve given her that? And if he had … – P. Quentin.
17. … he was struck by the thought (what devil’s whisper? – what evil hint of an evil
spirit?) – supposing that he and Roberta – (no, say he and Sondra – no, Sondra could swim
so well, and so could he) – he and Roberta were in a small boat somewhere and it should
capsize at the very time, say, of this dreadful complication which was so harassing him? What
an escape! What a relief from a gigantic and by now really destroying problem! – Th. Dreiser.
18. Miss Tillie Webster, she slept forty days and nights without waking up. – O. Henry.
19. And the rain descended, and the floods came, and the winds blew and beat upon the
house; and it fell; and great was the fall of it. – Matthew, VII.
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20. I stayed still, pressed against the cold marble, and felt humiliated and angry and
ashamed all at once. – M. Stewart.
21. Calm and quiet below me in the sun and shade lay the old house... – Ch. Dickens.
22. The coach was waiting, the horses were fresh, the roads were good, and the driver
was willing. – Ch. Dickens.
23. Talent Mr. Micawber has. Capital Mr. Micawber has not. – Ch. Dickens.
24. …she said in a voice that made his blood run cold. Tensely he waited. – S. James.
25. That we should be in great trouble, I knew. – V. Holt.
26. A hawk, serene, flows in the narrowing circles above. – A. Miller.
27. They’re on your mind to-night. Understandably. – E. Richards.
28. I have to beg you for money. Daily! – S. Lewis.
29. When one is in town one amuses oneself. When one is in the country one amuses
other people. – O. Wilde.
30. I know the world and the world knows me. – Ch. Dickens.
31. I looked at the gun, and the gun looked at me. – R. Chandler.
32. The pensive exile, bending with his woe, To stop too fearful, and too faint to go. –
Goldsmith.
33. What difference if it rained, hailed, blew, snowed, cycloned? – O. Henry.
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