Добавил:
ivanov666
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:Стилистика. Учебное пособие
.pdf
Seminar 2.1. Phonological Issues of Stylistic Analysis
Phonological and graphological foregrounding plays an important role,
creating musical quality of language, making some elements outstanding. The
stylistic analysis aims at providing information on the effect produced with
onomatopoeia, chiming, rhyme and rhythm due to the text concept.
Section 2.1.1. Description
In this section, we are examining the following pieces of literature by P.
Shelley, J. Galsworthy and T. Stoppard in the light of the view that phonological
patterns play an important role in the euphony and structural text organization
(musical quality of poetry).
Text 2.1.1 - Song from Charles the First by Shelley.
A widow bird sate mourning for her love
Upon a wintry bough;
The frozen wind crept on above,
The freezing stream below.
There was no leaf upon the forest bare,
No flower upon the ground,
And little motion in the air
Except the mill-wheel‘s sound.
Text 2.1.2 - From Man of Property by J. Galsworthy
Dinner began in silence; the women facing one another, and the men.
In silence the soup was finished — excellent, if a little thick; and fish was
brought. In silence it was handed.
Bosinney ventured: "It's the first Spring day".
Irene echoed softly: "Yes — the first spring day."
"Spring!" said June: "there isn't a breath of air!" No one replied.
The fish was taken away, a fine fresh sole from Dover. And Bilson brought
champagne, a bottle swathed around the neck with white.
Soames said: "You'll find it dry."
Cutlets were handed, each pink-frilled about the legs. They were refused by
June, and silence fell.
Soames said: "You'd better take a cutlet, June; there's nothing coming."
But June again refused, so they were borne away. And then Irene asked: "Phil,
have you heard my blackbird?"
Text 2.3.3 – From Arcadia by Tom Stoppard
THOMASINA: Septimus, do you think God is a Newtonian?
SEPTIMUS: An Etonian? Almost certainly, I‘m afraid. We must ask your brother
to make it his first enquiry.
41
THOMASINA: No, Septimus, a Newtonian. Septimus! Am I the first person to
have thought of this?
SEPTIMUS: No.
THOMASINA: I have not said yet.
SEPTIMUS: ‗Of everything from the furthest planet to the smallest atom of our
brain acts according to Newton‘s law of motion, what becomes of free will?‘
THOMASINA: No.
SEPTIMUS: God‘s will.
THOMASINA: No.
SEPTIMUS: Sin.
THOMASINA: (Derisively) No!
SEPTIMUS: Very well.
THOMASINA: If you could stop every atom in its position and direction, and if
your mind could comprehend all the actions thus suspended, then if you were really,
really good at algebra, you could write the formula for all the future; and although
nobody can be so clever to do it, the formula must exist just as if one could.
SEPTIMUS: (Pause) Yes. (Pause) Yes, as far as I know, you are the first person
to have thought of this. (Pause. With an effort) In the margin of his copy of
‗Arithmetic‘ Fermat wrote that he had discovered a wonderful proof of his theorem
but, the margin being too narrow for his purpose, did not have room to write it down
The note was found after his death, and from that day to this…
Tasks
1. Read the texts aloud a few times, until you feel that you understand and
hear it well. Use the phonetic and phonemic alphabets (transcription) to represent
sounds accurately.
2. Work out what is being symbolized and by what words. What
appropriate pronunciation features are involved in the sound symbolism?
3. Are there any significant patterns of rhyme and rhythm? How do they
help to achieve the effects each author appears to be striving for?
Be careful to distinguish between the generally agreed symbolic range of a
sound, and its associative value as apprehended by a particular reader in a particular
linguistic context.
Section 2.1.2. Self-Expression
1. In your stylistic analysis, throw light upon the phonological features of
poetry, prose and drama.
2. To the question of synesthesia, translate into English the poem Цвета
чувств by Эдуард Асадов.
42
Text 2.1.4 - Цвета чувств by Эдуард Асадов
Имеют ли чувства какой-нибудь цвет,
Когда они в душах кипят и зреют?
Не знаю, смешно это или нет,
Но часто мне кажется, что имеют.
Когда засмеются в душе подчас
Трели, по-вешнему соловьиные,
От дружеской встречи, улыбок, фраз,
То чувства, наверно, пылают в нас
Небесного цвета: синие-синие.
А если вдруг ревность сощурит взгляд
Иль гнев опалит грозовым рассветом,
То чувства, наверное, в нас горят
Цветом пожара - багряным цветом.
Когда ж захлестнет тебя вдруг тоска,
Да так, что вздохнуть невозможно даже,
Тоска эта будет, как дым, горька,
А цветом темная, словно сажа.
Если же сердце хмельным-хмельно,
Счастье, какое ж оно, какое?
Мне кажется, счастье как луч. Оно
Жаркое, солнечно-золотое!
Назвать даже попросту не берусь
Все их - от ласки до горьких встрясок.
Наверное, сколько на свете чувств,
Столько цветов на земле и красок.
Судьба моя! Нам ли с тобой не знать,
Что я под вьюгами не шатаюсь.
Ты можешь любые мне чувства дать,
Я все их готов, не моргнув, принять
И даже черных не испугаюсь.
Но если ты даже и повелишь,
Одно, хоть убей, я отвергну! Это
Чувства, крохотные, как мышь,
Ничтожно-серого цвета!
Notes
43
2.2. Grammatical Stylistics
Grammatical deviation deals with morphology and syntax. Both of them
represent a set of structural rules that govern the composition of clauses, phrases, and
words in any given natural language.
From the art viewpoint the grammar of words (morphology) and the grammar
of how words pattern within sentences (syntax) are associated with architecture.
Architecture (Latin architectura, from the Greek ἀρχιτέκτων – arkhitekton, from
ἀρχι- "chief" and τέκτων "builder, carpenter, mason") is the art and science, a style
and method of design and construction of physical structures
[http://en.wikipedia.org/wiki/Architecture, Retrieved 27.07.2011].
2.2.1. Morphological Stylistics
Morphological stylistics is a research of stylistic potential of grammatical
morphological categories (categories of number, aspect, time, mood, degrees of
comparison, etc.).
Despite the morphological extravagances such as museyroom, intellible,
eggtentical in Joyce‟s Finnegan‘s Wake, linguistic oddities in the former category are
rare enough in English [Leech, 1969: 44].
2.2.2. Syntactical Stylistics
Any syntactical SD is calculated to produce the stylistic effect. While viewing
the function of syntactic patterns we must take into consideration the following
aspects:
The juxtaposition of different parts of the utterance (compositional
patterns).
The way the parts are connecting with each other (linkage).
Any kind of deviation from the neutral syntactic construction (colloquial
constructions, stylistic use of structural meaning).
COMPOSITIONAL PATTERNS
In English the word-order is fixed, so any change of the sentence structure is
evident and it calls for the modification into intonation, rhythm and meaning. The
modification of word-order, called inversion (pronounced / /), aims at
attaching logical stress and emotional coloring of the utterance.
Thus, the word has and the negative not in the mentioned below example from
Ch. Dickens‟ gets a stronger stress on the objects showing they are important: Talent
Mr. Micawber has, capital Mr. Micawber has not (David Copperfield). The stylistic
effect may be also achieved by parallelism and antithesis, e.g. from W. Blake:
44
Nor in my book can I take delight,
Nor sit in learning bower.
One of the secondary parts of a sentence may be placed so as it is logically
SD
EXAMPLES
EFFECT
DETACHED
CONSTRUCTION
Sir Pitt came in first, very much flushed,
and rather unsteady in his gait.
(W. Thackeray, Vanity Fair)
Such constructions
produce more
impressionable effect
that inversion does.
They create
unexpected pauses,
slow down the tempo
and lead to think
about additional
meaning.
Хорошо лежать в траве зеленой
И, впиваясь в призрачную гладь,
Чей-то взгляд, ревнивый и влюбленный,
На себе, уставшем, вспоминать.
(С. Есенин)
SD
EXAMPLES
PARALLEL
CONSTRUCTION
There were real silver spoons to stir the tea with, and real china
cups to drink it out of, and plate of the same to hold the cakes and
toasts in.
(Ch. Dickens, The Pickwick Papers)
Не буди того, что отмечталось,
Не волнуй того, что не сбылось, -
Слишком раннюю утрату и усталость
Испытать мне в жизни привелось.
(С. Есенин, Письмо матери)
independent from the word it refers to. Such parts are called detached constructions.
They assume a greater degree of significance and are made prominent by intonation.
Often they are attributive or adverbial modifiers:
Table 31 - Detached Constructions
PARENTHESIS (pronounced / /) is a type of detached construction. It is
characterized by specific intonation and it is inverted by commas or dashes. Usually
parenthesis gives additional information, namely emotional coloring:
Parallel constructions are used in sentences and supra-phrasal units. The
necessary condition of it is similar syntactical structure of two and more sentences or
parts, which go in close succession:
Table 32 - Parallel Constructions
Parallelism is often used in enumeration, antithesis and climax and is
accompanied by lexical repetition and polysyndeton. Its function is to consolidate the
stylistic effect achieved by these devices.
Parallel constructions are used in different styles with different functions. For
instance, in official style they create the idea of semantic equality of the parts; and in
scientific prose they emphasize the diversity and contrast of the ideas.
45
Complete parallel arrangement is called balance. It maintains the principle of
TYPE
CRITERIA
EXAMPLES
ANAPHORA
(pronounced
/ /)
The repeated
words come into
beginning of
successive clause
or sentences.
―For what was it! Ignorant of the long and
stealthy march of passion, and of the state to
which it had reduced Fleur; ignorant of how
Soames had watched her, ignorant of Fleur‘s
reckless desperation… - ignorant of all this,
everybody felt aggrieved‖. (J. Galsworthy)
Говоришь ты мне слово покоя.
Говоришь ты мне слово любви.
Говоришь ты мне слово такое,
Восхищенное слово «Живи!»
(Б. Окуджава, Родина)
EPIPHORA
The repeated unit
is placed in the
end of consecutive
part. It serves as a
background
against which the
statements
preceded, the
repelled unit
stands out more
conspicuous.
―I am exactly the man to be placed in a
superior position in such a case as that. I am
above the rest of mankind, in such a case as
that. I can act with philosophy in such a case
as that‖. (Ch. Dickens)
Фестончики, всѐ фестончики: пелеринка
из фестончиков, на рукавах фестончики,
эполетцы из фестончиков, внизу
фестончики, везде фестончики. (Н.В.
Гоголь, Мертвые души)
identical structures throughout the corresponding sentences, as in the lines by
Shelley:
The seeds ye so – another reaps,
The robes ye weave – another wears,
The arms ye forge– another bears.
Repetition (pronounced / /) is an expressive means of language used
when the speaker is under the stress of strong emotion, as in the following example
by J. Galsworthy: ―Stop!‖ she cried, ―Don‘t tell me! I don‟t want to hear; I don‟t
want to hear what you‘ve come for. I don‟t want to hear‖. When used as a stylistic
device, repetition aims at making a direct emotional impact [Гальперин, 1977: 211].
The main functions of repetition are:
1. To intensify the utterance.
2. To make the aesthetic effect.
3. To stress the monotony of the action.
4. To give the rhythm to the utterance.
According to its structure, there are five types of repetition:
Table 33 - Repetition
46
FRAMING
The initial parts of
a syntactical unit
(usually a
paragraph) are
also repeated at
the end of it. The
framing makes the
utterance more
complete and
compact.
“Poor doll‟s dressmaker! How often so
dragged down by hands that should have
raised her up; how often so misdirected when
losing her way on the eternal road and asking
guidance. Poor little doll‟s dressmaker” (Ch.
Dickens, Our Mutual Friend).
Дай, Джим, на счастье лапу мне,
Такую лапу не видал я сроду.
Давай с тобой полаем при луне
На тихую, бесшумную погоду.
Дай, Джим, на счастье лапу мне.
(С. Есенин, Собаке Качалова)
LINKING
/ANADYPLOSIS/
The last word or
phrase of the
utterance is
repeated in the
beginning of the
other, thus
hooking the parts
together.
With Bewick on my knee, I was then happy;
happy at least in my way (Bronte, Jane Eyre).
Мыслей не было, ни возражений, ни
согласия. Он стоял у холодной печки горела лампа на столе за зеленым
матерчатым зонтиком - где-то далеко
играла дочь Зизи на рояле - лаял
губернаторшин мопс, которого, очевидно,
дразнили - лампа горела. Лампа горела (Л.
Андреев, Губернатор).
CHAIN
REPETITION
The usage of the
linking device
several times in
one utterance.
For glances beget ogles, ogles sighs, sighs
wishes, wishes words, and words a letter…
(Byron, Beppo).
А скажи мне, Митрич, а что ты тут
делал, пока я в тамбуре был? пока я в
тамбуре был погружен в свои мысли? в
свои мысли о своем чувстве? к любимой
женщине? А? Скажи… (В. Ерофеев,
Москва-Петушки)
According to structure and semantics there are three varieties of repetition:
1) DIRECT REPETITION, with one and the same phrase is repeated.
using synonymous words or phrases, which present it with different shades and
meanings and intensify the impact of the utterance, as in the lines by Keats:
2) SYNONYMIC REPETITION, when one and the same idea is expressed by
The poetry of earth is never dead…
The poetry of earth is ceasing never…
3) ROOT REPETITION, for which derivatives are used.
47
Chiasmus (pronounced / /), reversed parallel construction, is based
TYPE
CRITERIA
EXAMPLES
LOGICAL
CLIMAX
Relative importance of
the parts. The author‟s
attitude towards the
object is disclosed.
Nobody ever stopped him in the street to
say, with gladsome looks, ‗My dear
Scrooge, how are you? When will you
come to see me?‘ No beggar implored him
to bestow a trifle, no children asked him
what it was o‘clock, no man or woman
ever once in all his life inquired the way to
such and such a place, of Scrooge. Even
the blind men‘s dogs appeared to know
him, and when they saw him coming on,
would tug their owners into doorways and
on a repetition but it has a cross order of words and phrases, as in The Golden Sunset
by H.W. Longfellow:
The cloud-like rocks, the rock-like clouds
Dissolved in glory float.
Chiasmus may be also used as a lexical device, for example, by Byron:
‗Tis strange - but true,
For truth is always strange.
This device always puts additional emphasis, usually at the second part of the
utterance. The pause between these two parts is also important.
Enumeration (pronounced / /) is a SD by which separate
phenomena and actions are named one by one, producing a homogeneous chain. The
objects themselves may be heterogeneous, and such a homogeneous line may
produce the unforgettable impression, as in example from Ch. Dickens: „The
principal production of these towns… appear to be soldiers, sailors, Jews, chalk,
shrimps, officers and dock-yard men‟.
Suspense (pronounced / /) is a compositional SD. It consists in
arranging the parts in such a way that the subordinate parts are placed at the
beginning, and the main idea is withheld till the end of the sentence. Thus the
reader‟s attention is kept up: „Mankind, says a Chinese manuscript… for the first
seventy thousand years ate their meat row‟ (Ch. Lamb).
In the following example from Губернатор by Леонид Андреев suspense is
combined with metaphor and hyperbole: ‗Еще не родившись, мы уже
тысячекратно обижены, а когда мы вылезаем в жизнь, так сразу попадаем в
какую-то нору и пьем обиду, и едим обиду, и одеваемся обидой‘.
Climax (pronounced / /), or gradation, is an arrangement of
sentences or the homogeneous parts of one sentence, which secures a gradual
increase in emotion, quality or quantity:
Table 34 – Ways of Creating Gradual Increase of Significance
48
up courts; and then would wag their tails,
as though they said, ‗No eye at all is better
than an evil eye, dark master!‘ (Ch.
Dickens, A Christmas Carol).
EMOTIONAL
CLIMAX
The distribution of the
lexical items, each
successive unit is
preserved emotionally
stronger than the
preceding one.
He was pleased when the child began to
adventure across floors on hand and
knees; he was gratified, when she
managed the trick of balancing herself on
two legs; he was delighted when she first
said ‗ta-ta‘; and he was rejoiced when she
recognized him and smiled at him (J.
Paton).
QUANTITATIVE
CLIMAX
An evident volume of
the corresponding
concepts, esp. measure
and time: „day by
day‘, ‗little by little‘,
etc.
Little by little, bit by bit, and day by day,
and year by year the baron got the worst
of some disputed question (Byron).
Suspense and climax often go together. All the information contained in the
series of statements, preceding the final statement, is arranged in the order of
gradation. This device is especially popular with orators in public speaking. It is often
achieved due to the intonation, which helps to desire the atmosphere of emotional
tension.
The main purpose is to prepare the reader for the only logical conclusion of the
utterance, suspense the psychological effect. If we keep the secret of communication
until the end, it will lead the concentration of the listener‟s attention (for example, the
poem If by R. Kipling).
The opposite device is called ANTICLIMAX, in which case the final element is
obviously weaker in degree, or lower in status than the previous; it usually creates a
humorous effect, as in the phrase by O. Wilde: „Music makes one feel so romantic –
at least it gets on one‟s nerves, which is the same thing nowadays‘.
Antithesis (pronounced / /) is based on points of sharp contrast, i.e.
setting one thing against the other. It involves relative opposition which arises out of
the content through the expansion of objectively contrasting pairs. Thus, in the
example from Longfellow the objectively contrasting pair is youth – age. Lovely and
lonely cannot be regarded as objectively opposite concepts, but being included in one
context with age and youth, they display certain antonymic features; this is
strengthened also by the next line where fiery and frosty are objective antonyms:
Youth is lovely, age is lonely.
Youth is fiery, age is frosty.
49
Antithesis is generally molded in parallel construction. The antagonistic
features of two objects or phenomena are more easily perceived when they stand out
in similar structures, as in the abstract from A Tale of Two Cities by Ch. Dickens: „It
was the best of times, it was the worst of times; it was the age of wisdom, it was the
age of foolishness; it was the epoch of belief, it was the epoch of incredulity; it was
the season of Light, it was the season of Darkness; it was the spring of hope, it was
the winter of despair; he had everything before us, we had nothing before us; we
were all going direct to Heaven, we are all going direct the other way‟.
Antithesis usually performs the following basic functions:
rhythm-forming (because of the parallel arrangement),
comparative (copulative and dissevering).
LINKAGE PATTERNS
Asyndenton (pronounced / /) is a deliberate omission of conjunctions
or other connectors between parts of the sentence. It may be used in the description of
a group of events connected in time: taking place simultaneously or in succession (the
absence of a conjunction and), logical connections between parts (reason – because,
contradiction – but, contrast – whereas, condition - if), and so on. Thus, in the
following phrase by J. Steinbeck a conditional conjunction is omitted: „Should a
Frenchman or Englishman travel my route, their stored pictures of it would be
different from mine‘.
Polysyndeton is a device opposite to asyndenton: it is a repeated use of the
same connectors (conjunctions, prepositions) before several parts of the sentence,
which increases the emotional impact of the text as in the following lines by H.W.
Longfellow:
Should you ask me, whence these stories?
Whence these legends and traditions,
With the odours of the forest,
With the dew, and damp of meadows,
With the curling smoke of wigwams,
With the rushing of great rivers,
With the frequent repetitions…
The repetition of connection means makes an utterance more rhythmical.
Moreover, polysyndeton performs a disintegrating function: unlike enumeration
(which integrates both homogeneous and heterogeneous elements into one whole),
polysyndenton causes each member of a string of facts to stand out conspicuously.
The gap-sentence link is a term used to denote the connection which is not
immediately apparent and which requires a certain mental effort to grasp the
interrelation between the parts of the utterance, i.e. to bridge the semantic gap. Thus,
the whole sentence by J. Galsworthy „She and that fellow ought to be the sufferers,
and they were in Italy‟ seems to be logically incoherent but more careful semantic
analysis shows that the exact logical variant of the utterance would be: „Those who
50
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]