In the gunpowder jar…

There was a young man of South Bay

Пятый прокуратор Иудеи всадник Понтий Пилат (начало 2 главы и конец романа)

Anadiplosis (подхват) (coupling) – the repeated element occurs at the end of the previous sequence and the beginning of the next one.

For each man kills the thing he loves,

Yet each man does not die.

He does not die a death of shame

On a day of dark disgrace (O.Wilde, The ballad of the Reading Jail)

Repetition in the opening position (the beginning of paragraph) – anaphora – The emphasis was helped by the speaker’s square wall of a forehead. The emphasis was helped by the speaker’s mouth. The emphasis was helped by the speaker’s voice.

Epiphora – darkness here and nothing more…merely this and nothing more….’tis the wind and nothing more.

Chiasmus – a mirror arrangement – the wording and the structure are reversed. It is sometimes emerges as a kind of pun (to kiss a miss or to miss a kiss). The sea is but another sky, The sky a sea as well. (H. Longfellow)

The automat manifestation of C is found in the palindrome (буквенный перевертыш) – Madam, I am Adam.

Besides repetition Reduplication manifests itself through a few other devices.

parenthesis – comment in brackets – a phrase which at first sight provides information of secondary importance that can actually be dispensed. But sometimes P works as the meaningful nucleus of the sentence – “a long matted well (but you might look in vain for truth at the bottom of it - allusion) between the registrar’s table and the silk gowns”. (Dickens, Bleak House)

syntactic tautology (prolepsis) – the subject is expressed both by a noun and a pronoun – The widow Douglas, she took me for her son (M.Twain). To emphasize the carelessness of the character’s speech or the poor education. (Is it possible that she, Jane Smith, was to be elected Prefect?)

polysyndeton (многосоюзие) – always accompanies either enumeration, or parallel constructions. (And the flags were rustling, and the band was playing, and the constables were swearing, and the twenty committee men were squabbling)

Compression – manifests itself through asyndeton (makes the utterance more brisk, tense, and yet it remains absolutely logical, because the cohesion is so evident that no special cohesent devices are necessary) – Will you allow me to drive you home? I insist: it will give me the greatest pleasure. Also through ellipsis (опущение) - it presupposes that either one or both chief members of the sentence are missing. Very often they are nominative sentences – help to slow down the tempo of narrative, because their draw the reader’s eye to narrative details. But nominative sentences need not be short; they can be long and at the same time structurally elliptical. They might create the rhythm of movement (Lord God the crazy train rattling through Texas, the sky dark with dust and smoker full of the sad faces, the travelers, the everlasting travelers of the earth…(Saroyan)). Such sentences can be adverbial, verbal or attributive. They can have an effect of encyclopedia entry (Четвероногое, травоядное, graminivorous, sheds coat in spring…Hard Times, Dickens)

Aposiopesis – a sentence is broken off by the speaker for some reasons: 1) S may be too verbious and being interrupted 2) for reasons of tact (Now, what I was thinking was this: if he’s not going to live there --)

White elephant – expensive, but useless thing

A few more syntactical devices are not attributed by scholars to any of the four groups.

Enumeration – can be of two kinds:

homogeneous – it helps to accumulate the desired effect

By seven o’clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and viols and cornets and piccolos….

heterogeneous – the houses had little gardens, but they didn’t seem to raise hardly anything in them but weeds and sunflowers, and ashpiles, and old curled up boots and shoes, and pieces of bottles and rags…(Huckleberry Finn)

Gradation (climax) – can be qualitative and quantitative.

She was beautiful, irresistible, the very vision of loveliness.

They looked at hundreds of houses; they climbed thousands of stairs; they inspected innumerable kitchens.

И равно беспредельны просторы для микробов, людей и планет. (Заболотский)

Suspense\retardation – consists with holding the vital information until the very end of a rather long sentence, which keeps the reader guessing and making hypotheses.

And there, ahead, all he could see, as wide as all the world, great, high, and unbelievably white in the sun, was the square top of Kilimanjaro. And then he knew that there was where he was going. (Hemingway)

Sometimes the whole text can consist of one sentence based on Suspence. For instance, “If” by Kipling.

If you can keep your head when all about you  Are losing theirs and blaming it on you;  If you can trust yourself when all men doubt you,  But make allowance for their doubting too:

If you can wait and not be tired by waiting, 

Yours is the Earth and everything that's in it,  And - which is more - you'll be a Man, my son!

Sometimes S promises a lot, but here comes defeated expectancy, intentionally trivial to deceive us.

Antithesis – using parallel constructions with antonymic lexical pair – a vivid contrast. Державин – Я телом в прахе истлеваю, Умом громам повелеваю,

Я царь — я раб — я червь — я бог!

It was the best of times, it was the worst of times; it was the age of wisdom, it was the age of folly;…we had everything before us, we had nothing before us. (Dickens, A Tale of Two cities)

Полуотмеченные структуры – semi-marked structures (registered) – phrases where predictability of syntax is grossly violent in two ways. Sometimes the structure is potentially possible, but it normally does not allow the usage of this vocabulary in the given structure. (It happened two wives ago, 20 thousand cigarettes ago). It can be really violate syntax. At first sight may even seem non-sensical.

anyone lived in a pretty how town

(with up so floating many bells down)

spring summer autumn winter

he sang his didn't he danced his did

Women and men(both little and small)

cared for anyone not at all

they sowed their isn't they reaped their same

sun moon stars rain

children guessed(but only a few

and down they forgot as up they grew

autumn winter spring summer)

that noone loved him more by more

when by now and tree by leaf

she laughed his joy she cried his grief

Phonetic Stylistic Devices

They can be subdivided into two kinds: used by authors and used by actors (pauses, pitch, loudness, tempo).

Alliteration – the oldest device of English literature.

creates an emotional impact: He does not die a death of shame on a day of dark disgrace…

establish similarity or contrast (very frequent in folk sayings): tit for tap, as blind as a bat. His wife was handsome and horrible.

The author can accumulate several alliterations: In the copse, where spring was running riot, with the scent of sap and bursting buds (mild S, energetic B and R).

…without rhyme or reason – ни с того, ни с сего

Assonance - repetition of identical or very similar vowel sounds.

….. that rare and radiant maiden whom the angels call Lenore Nameless here for evermore

Листьям августа с астмой в каждом атоме

Снится тень и тишь. Вдруг бег пса

Пробуждает сад

3. Onomatopoeia – imitation of natural sounds, produced by animals or natural phenomena or inanimate objects (скрипнуть, завизжали=screech)

- direct – a separate word is sufficient to produce the effect of sound imitation

Buzz, moo, mew, splash, bang, roar, growl, bow-wow, splash, bang

- indirect

Наш кочень очень озабочен,

Нож отточен, точен очень! (В. Хлебников)

The meaning produced by accumulation of words is the sound of the swishing of a knife.

The Bells (A.Poe)

Oh the bells, bells, bells!

What a tale their terror tells

Of despair!

How they clang, and clash, and roar!

What a horror they outpour

In the bosom of the palpitating air!

Yet the ear, it fully knows, By the twanging

Rhyme – coincidence of final stressed syllables at the end of the respective lines.

English laws of R are more tolerant than Russian ones. Me and be make a perfect R in E.

Найми и люби не рифма в русском.

Eye-rhyme: love-prove-move-dove

Отсеченные рифмы (curtailed R – gap - happen)

Incomplete rhyme – the words are similar to each other phonetically and most of the consonants are identical, they do not make a R due to either vowel or consonant discrepancies: reader-rider, странник – стражник, пляшет-плачет.

Such R can sometimes have a great textual value, being chiefly responsible for the implicit message. It can act as textual antonyms.

Пляшет перед звездами звезда,

Пляшет колокольчиком вода,

Пляшет шмель и в дудочку дудит,

Пляшет перед скинией Давид.

Плачет птица об одном крыле… (А.Такровский)

W.H.Auden

“O where are you going” said reader to rider…(коннику книжник)

Textual antonyms oppose two types of personality – a brave adventurer and a prudent stay-at-home fellow. But the phonetic similarity suggests at the same time that this is an autodialogue.

Rhythm exists both in prose and in poetry. In poetry it has a greater degree of regularity and manifests itself as meter (размер):

measured, patterned arrangement of syllables, primarily according to stress or length

the specific rhythm determined by the prevailing foot in the line (iambic meter).

Kinds of metric foot (a group of syllables serving as a unit of meter):

Iambic foot – oO (iambus) – Shakespear (iambic pentameter)

Trochaic foot (trochee) – Oo (Should you ask me whence these stories) (Longfellow)

Dactyl – Ooo (Тучки небесные, вечные странники)

Amphibrach – oOo (Как ныне сбирается вещий Олег)

Anapest – ooO (For the moon never beams without bringing me dreams

Of the beautiful Annabel Lee)

In prose fiction R often

creates a melodious effect (But the river, chill and weary…) (3 in a boat)

creates a contrast: nine o’clock, nine-fifteen, stars out, moon round….

Sharp change of R – 3 in a boat

The abrupt change of R.

Lecture 7 2.11.2010