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Alliteration Assonance Onomatopoeia
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The Cataract of Lodore
By Robert Southey
| “How does the water Come down at Lodore?” ………………………… From its sources which well In the tarn on the fell; From its fountains In the mountains, Its rills and its gills; Through moss and through brake, It runs and it creeps For a while, till it sleeps In its own little lake. And thence at departing, Awakening and starting, It runs through the reeds, And away it proceeds, Through meadow and glade, In sun and in shade, And through the wood-shelter, Among crags in its flurry, Helter-skelter, Hurry-skurry. Here it comes sparkling, And there it lies darkling; Now smoking and frothing Its tumult and wrath in, Till, in this rapid race On which it is bent, It reaches the place Of its steep descent. And hurrying and skurrying, And thundering and floundering The cataract strong Then plunges along, Striking and raging As if a war raging Its caverns and rocks among; Rising and leaping, Sinking and creeping, Swelling and sweeping, Showering and springing, Flying and flinging, Writhing and ringing, Eddying and whisking, Spouting and frisking, Turning and twisting, Around and around With endless rebound: Smiting and fighting, A sight to delight in; Confounding, astounding, Dizzying and deafening the ear with its sound. Collecting, projecting, Receding and speeding, And shocking and rocking, And darting and parting, And threading and spreading, And whizzing and hissing, And dripping and skipping, And hitting and splitting, And shining and twining, And rattling and battling, | And shaking and quaking, And pouring and roaring, And waving and raving, And tossing and crossing, And flowing and going, And running and stunning, And foaming and roaming, And dinning and spinning, And dropping and hopping, And working and jerking, And guggling and struggling, And heaving and cleaving, And moaning and groaning; And glittering and frittering, And gathering and feathering, And whitening and brightening, And quivering and shivering, Dividing and gliding and sliding, And falling and brawling and sprawling, And driving and riving and striving, And sprinkling and twinkling and wrinkling, And sounding and bounding and rounding, And bubbling and troubling and doubling, And grumbling and rumbling and tumbling, And clattering and battering and shattering; Retreating and beating and meeting and sheeting, Delaying and straying and playing and spraying, Advancing and prancing and glancing and dancing, Recoiling, turmoiling and toiling and boiling, And gleaming and streaming and steaming and beaming, And rushing and flushing and brushing and gushing, And flapping and rapping and clapping and slapping, And curling and whirling and purling and twirling, And thumping and plumping and bumping and jumping, And dashing and flashing and splashing and clashing; And so never ending, but always descending, Sounds and motions for ever and ever are blending All at once and all o'er, with a mighty uproar, And this way the water comes down at Lodore. |
Task 2
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Compare and define the cases of euphony and the cases of cacophony in the following passages below:
Those evening bells,
Those evening bells
How many a tale their music tells
Of youth and home
and that sweet time
When last I heard
their soothing chime.
The murmuring of enumerable bees.
The murdering of innumerable beeves.
Task 3
Comment on the following cases of alliteration and their stylistic function:
1. Silken sad uncertain rustling of each purple curtain. (E.A.Poe)
2. The furrow followed free. (S.T.Coleridge)
3. The Italian trio tut-tuted their tongues at me. (T.Capote)
4. Nothing so exciting, so scandalous, so savoring of the black arts had startled Aberlaw since Trevor Day, the solicitor was suspected of killing his wife with arsenic. (A.Cronin – Citadel)
5. “Gaunt as the ghastliest of glimpses that gleam through the gloom of the gloaming when ghosts go aghast”-poet parodies his own style. (Swinburne - Nephelidia)
6. The possessive instinct never stands still. Through florescence and fend, frosts and fires it follows the laws of progression”. (Galsworthy)
7. Deep into the darkness peering, long I stood there wondering, fearing, // Doubting, dreaming dreams no mortals ever dared to dream before”. (E.A.Poe)
8. Nor soul helps flesh now // more than flesh helps soul (R.Browning)
9. Dreadful young creatures – squealing and squawking. (D.Carter)
Task 4
Comment on the following cases of assonance and their stylistic function:
It is the hour when from the boughs
The nightingales’ high note is heard;
It is the hour when lovers’ vows
Seem sweet in every whispered word,
And gentle winds and waters near,
Make music to the lovely ear. (Byron).
Task 5
Find examples of different types of rhymes in English prose and poetry.
Task 6
Define different metric patterns in the examples below:
WILLIAM SHAKESPEARE
SONNET 116
1. Let me not to the marriage of true minds.
2. Admit impediments. Love is not love.
3. Which alters when it alteration finds.
4. Or bends with the remover to remove.
5. O, no! It is an ever-fixed mark.
6. That looks on tempests, and is never shaken.
7. It is the star to every wandering bark.
8. Whose worth's unknown, although his height be taken.
9. Love's not Time's fool, though rosy lips and cheeks.
10. Within his bending sickle's compass come.
11. Love alters not with his brief hours and weeks.
12. But bears it out even to the edge of doom.
13. If this be error and upon me proved.
14. I never writ, nor no man ever loved.
SONNET 130
My mistress eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask’d, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
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That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.
2.2. Graphic Expressive Means
An Outline
1. Graphic expressive means (EM):
a) Italics;
b) Capitalization;
c) Spacing;
d) Hyphenation;
e) Steps;
f) Multiplication.
2. Graphon.
3. Stylistic functions of graphon and graphic EM.
Graphic EM refer to all changes of the type (italics, capitalization), spacing of graphemes (hyphenation, multiplication) and of lines (steps).
Italics are used to single out epigraphs, citations, foreign words, allusions serving the purpose of emphasis. Italics add logical or emotive significance to the words. E.g. “Now listen, Ed, stop that now. I’m desperate. I am desperate, Ed, do you hear?” (Dr.)
Capitalization is used in cases of personification making the text sound solemn and elevated or ironical in case of parody. E.g. O Music! Sphere – descended maid, // Friend of Pleasure, Wisdom’s aid! (W.Collins)
E.g. If way to the Better there be, it exacts a full look at the Worst. (Th.Hardy)
Capitalized words are italicized and pronounced with great emphasis.
E.g. I didn’t kill Henry. No, No! (D.Lawrence – The Lovely Lady)
E.g. “WILL YOU BE QUIET!” he bawled (A.Sillitoe – The key to the door) “Help, Help, HELP” (Huxley’s desperate appeal).
Intensity of speech is transmitted through the multiplication: “Allll aboarrrd! ”- Babbit Shrieked.
Hyphenation of a word suggests the rhymed or clipped manner in which it is uttered:” e.g. “grinning like a chim-pan-zee” (O’Connor)
Hyphenation and multiplication:
Kiddies and grown-ups
Too-oo-oo,
We haven’t enough
to do-oo-oo.
Graphon (графон):
It is intentional violation of the graphical shape of a word (or word combination) used to reflect its authentic pronunciation, to recreate the individual and social peculiarities of the speaker, the atmosphere of the communication act (V.A.K.) (стилистически релевантное искажение орфографической нормы, отражающее индивидуальные или диалектные нарушения нормы фонетической). (I.V.A.)
Graphon indicates irregularities or carelessness of pronunciation, supplies information about the speaker’s origin, social and educational background, physical or emotional condition. It also individualizes the character’s speech, adds plausibility, vividness, memorability. Graphon is referred to all changes of the type (italics, CapiTaliSation), s p a c i n g of graphemes (hy-phe-na-ti-on, m-m-multiplication) and of lines (V.A.K.) E.g. “Alllll aboarrrrrrrd”.
Ex.: “ The b-b-b-ast - ud seen me c-c-coming ” (stumbling).
“ You don’t mean to thay that thith ith your firth time” (lisping).
“ Ah like ma droap o’Scatch, d’ye ken” (Scotch accent). – I like my drop of Scotch.
Ex.: “Hish mishish, it ish hish mishish. Yesh”. (J.B.Priestley)
E.g. I had a coach with a little seat in fwont with an iwon wail for the dwiver. (Dickens) – (с гашеткой впегеди для кучега).
E.g. You don’t mean to thay that thith ith your firth time. (D. Cusack).
It is used in contemporary prose in dialogical clichés: gimme, lemme, gonna, gotta, coupla, mighta, willya.
2.3. Morphological Level of Stylistic Analysis
An Outline
Morphemic foregrounding:
1) Repetition of a morpheme;
2) Extension of morphemic valency.
Morphemic foregrounding is meant to add logical, emotive and expressive connotation. Morphemic foregroundingis realized through:
1) repetition of root and affixal morphemes
2) extention of morphemic valency.
Morphemic repetition is repetition of a morpheme, both root and affixal, to emphasize and promoteit (V.A.K.)
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Extention of the morphemic valency causes the appearance of occasional words (fresh, original, lucid in the inner form and morphemic structure).
Repetition of root or affix morphemes stresses contrast, negation, absence of quality, smallness in words with the help of different affixes: anti -, a-; mis -, -ling, -ette: starling, kitchenette, disadvantage;
E.g. “She unchained, unbolted and unlocked the door. (A.Bennett)
“I’ll disown you, I’ll disinherit you, I’ll unget you.”
Extension of the normative valency adds emotive and evaluative connotational meaning in degrees of comparison of the occasional character:
“I love you mucher! Plenty mucher? Me toer!” (J.Br.)
“David, in his new grown-upness, had already a sort of authority.” (I.M.)
“I am not just talented. I am geniused.” (Sh.D.)
Occasional words (Nonce-words) are based on extension of the normative valency which results in the formation of new words. It is an effective way of using a morpheme for the creation of additional information. They are not neologisms in the true sense for they are created for special communicative situations only, and are not used beyond these occasions.
E.g. mother-in-lawed, not-thereness.
E.g. I am an undersecretary of an underbureau. (I.Shaw)
E.g. Parritt turns startledly. (E.O’Neill)
E.g. That was masterly. Or, should one say, mistressly. (A.Huxley)
Seminar 2
Phonographic and morphemic expressive means
Questions and tasks
Questions:
1. What is sound – instrumentation and what cases of sound instrumentation do you know?
2. What graphic EM are used in different functional styles and genres?
3. What is graphon? Define its stylistic functions in different genres of literature.
4. Analyse different cases of alliteration, assonance and onomatopoeia: В.А. Кухаренко. A Book of Practice in Stylistics. ex. 1. p. 13 – 14, Seminars in Style. Ex.2, p. 108.
5. Analyze different cases of graphon and graphic EM: В.А. Кухаренко. А Book of Practice. Ex. 2, pp. 14 – 15; ex. 4, p.16, ex. 5-6, pp. 16-17. Seminars in Style, ex. 1, p. 102, ex. 4, p. 109, ex.5, p. 110.
6. What are the main cases of morphemic foregrounding?
7. What are the functions of morphemic repetition?
8. How are morphemes foregrounded in occasional words?
9. What is the difference between occasional words and neologisms?
10. State the function of different cases of morphemic repetition: ex. 1, p. 19 (A Book of Practice).
11. Analyse the morphemic structure and the stylistic functions of occasional words: ex.2, p. 21 (A Book of Practice in Stylistics)
12. Discuss different cases of morphemic foregrounding: ex. 3, p. 21 (A Book of Practice in Stylistics)
Task 1
Explain the usage of graphon and graphic EM in the examples from modern English and American literature.
Task 2
Comment on different graphic EM and define their stylistic function:
1. “You mean you’d like it best.” Little Jon considered. “No, they would, to please me.” (Galsworthy - Awakening)
2. Olwen (smiling at him affectionately): You are a baby. … Gordon (furious, rising and taking step forward): You are a rotter, Stanton. (J.B. Pristley).
3. He missed our father very much. He was s-l-a-i-n in North Africa. (S.)
4. “Hey,” he said “is it a goddamn cardroom? Or a latrine? Attensh –HUT! Da-ress right! DHRESS!” (J.)
5. “We’ll teach the children to look at things. Don’t let the world pass you by, I shall tell them. For the sun, I shall say, open your eyes for that laaaarge sun…..”(A.W.)
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Task 3
Comment on the usage and stylistic function of graphic EM and graphon in the newspaper poster and TV advertising:
1. “Pik-kwik Shop”.
2. “Follo me”.
3. “Best Jeans for this Jeaneration”.
4. Weather forecast for today: Hi 59, Lo 32, wind lite.
5. Follow our advice: Drinka Pinta Milka Day.
Task 4
Analyze the passage paying special attention to the stylistic function of graphic EN and SD:
After great pain, a formal feeling comes –
The Nerves sit ceremonious, like Tombs –
The stiff Heart questions was it He, that bore,
And Yesterday, or centuries before?
The Feet, mechanical, go round –
A Wooden way
Of Ground, or Air, or Ought –
Regardless grown,
A Quarts contentment, like a stone –
This is the Hour of Lead –
Remembered, if outlived,
As Freezing persons, recollect the Snow
First – Chill – the Stupor – then the letting go – (E. Dickinson)
Task 5
Comment on the stylistic function of different cases of morphemic repetition in the following examples:
1. “The precious twins – untried, unnoticed, undirected – and I say it quiet with my hands down – undiscovered”. (S.)
2. “The procession then re – formed; the chairmen resumed their stations; and the march was re – commenced.” (D.)
3. “…it’s all the chatting and the feeding and the old squiring and the toeing and froing that runs away with the time.” (K.A.)
4. Young Blight made another great show of changing the volume, taking up a pen, sucking it, sipping it, and running over previous entries before he wrote. As, “Mr. Alley, Mr. Balley, Mr. Calley, Mr. Dalley, Mr. Falley, Mr. Galley, Mr. Halley, Mr. Lalley, Mr. Malley. And Mr. Boffin. (Dickens)
5. Laughing, crying, cheering, chaffing, singing, David Rossi’s people brought him home in triumph. (H.Caine)
Task 6
Analyze the morphemic structure and the purpose of creating the occasional words in L.Carrol’s parody poem:
THE MANLET
L.Carrol, 1967
In statue the manlet was dwarfish –
No big burly Blunderbore he;
And he wearily gazed on the crawfish
His wifelet had dressed for his tea.
“Now reach me, sweet Atom, my gunlet,
And hurl the old shoelet for luck.
Let me hie to the bank of the runlet,
And shoot thee a Duck!”…
On he speeds, never wasting a wordlet,
Though thoughtllets cling, closely as wax,
To the spot where the beautiful birdlet
So quietly quacks…
Where the Grublet is sought by the Froglet,
Where the Frog is persued by the Duck;
Where the Ducklet is chased by the doglet –
So runs the world’s Luck!
Task 7
Make a complete stylistic analysis of phonetic and morphological EM in the poem “Tarantella” and point out their stylistic relevance.
Tarantella
Hillarie Belloc (1870-1953)
Do you remember an Inn,
Miranda?
Do you remember an Inn?
And the tedding and the spreading
Of the straw for a bedding,
And the fleas that tease in the High Pyrenees?
And the wine that tastes of tar?
And the cheers and the jeers of the young muleteers
(Under the dark of the vine verandah)?
Do you remember an Inn, Miranda?
Do you remember an Inn?
And the cheers and the jeers of the young muleteers
Who hadn’t got a penny,
And who weren’t paying any,
And the hammer at the doors and the Din?
And the Hip! Hop! Hap!
Of the clap
Of the hands to the twirl and the swirl
Of the girls gone chancing,
Glancing,
Dancing,
Backing and advancing,
Snapping of the clapper to the spin
Out and in-
And the Ting, Tong, Tang of the guitar!
Do you remember an Inn, Miranda?
Do you remember an Inn?
Never more;
Miranda,
Never more.
Only the high peaks hoar:
And Aragon, a torrent at the door,
No sound
In the walls of the Halls where falls
The tread
Of the feet of the dead to the ground.
No sound:
Only the boom
Of the far Waterfall like Doom.
RECOMMENDED LITERATURE:
1.Арнольд И.В. Стилистика современного английского языка (Стилистика декодирования). – M., 2002. стр. 165 – 170; 225-238.
2.Galperin I.R. Stylistics. - M., 1987. pp. 123-125; pp. 252-270.
3.Кухаренко В.А. A Book of Practice in Stylistics. pp. 10-13, 18-19.
4. http://www.lingvoda.ru/LingvoDict/Stylistics.zip
5. http://www.durov.com/study/STYLISTICS-175.doc
UNIT 3
Semantic structure of a word
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An Outline
- Denotative and connotative meanings as a factor of style.
- Contextual meaning and its stylistic function.
- The theory of opposition; polysemy and synonymy.
- Stylistic classification of the English vocabulary.
- Formal layer of the English vocabulary.
- Informal layer of the English vocabulary.
Sign is a material, sensuously perceived object (phenomenon, action) appearing in the process of cognition and communication in the capacity of a representative (substitute) of another object (or objects) and used for receiving, storing, recasting and transforming information about this object (I.R.G.:61)
Word - a unit of language functioning within the sentence or within a part of it which by its sound or graphical form expresses a concrete or abstract notion or a grammatical notion through one of its meanings and which is capable of enriching its semantic structure by acquiring new meanings and losing old ones. It possesses an enormous potentiality for generating new meanings; ( I.R.G.:62, 66)
Word - a speech unit used for the purposes of human communication, materially representing a group of sounds, possessing a meaning, susceptible to grammatical employment and characterised by formal and semantic unity. (Antrushina:10)
“A word is a basic unit of a language, which denotes a concept and expresses emotions and relations”. (Meillet)
Lexical meaning or dictionary meaning:
- refers the mind to a concrete concept, phenomenon, or thing of objective reality, whether real or imaginary;
- a means by which a word-form is made to express a definite concept;
- closely related to a concept;
- sometimes identified with a concept;
A concept is considered an abstract or general idea of some phenomenon of objective reality and also comprises subjective feelings and emotions of human beings. A word expresses a concept by its meanings. Each meaning denotes a separate concept.
Prof. Galperin’s classification of the semantic structure of a word (Moscow school) comprises:
- LOGICAL 2. NOMINAL 3. EMOTIVE meanings.
Logical (referential) or denotative meaning is the precise naming of a feature, idea, phenomenon or object: head, can (sl.), upper story (sl.), brain (sl.), etc. are united by the same denotative meaning.
The nominal meaning nominates an object. It is referred to proper nouns: Mr. Black, Mr. Hope. It serves the purpose of singling out one definite and singular object out of a whole class of similar objects: e.g. Browning, Taylor, Scotland, Black, Chandler, Chester.
Emotive meaning also materializes a concept in the word, but, unlike logical meaning, it has reference not directly to things or phenomena of objective reality, but to the feelings and emotions of the speaker towards these thighs or to his emotions as such. Emotive meaning (coloring) can be usual or occasional. A girl (tart, broad, bird) arereferred to one person to portray the character’s respect or disrespect.
Contextual emotive meaning is an emotive meaning, acquired by a word only in a definite context: e.g.
1.”His face is red at first and then goes white and his eyes stare as if they’ll pop out of his head.”
2. “Would you like me to pop downstairs and make you a cup of cocoa?”
Contextual meaning is accidental and it is imposed by and depends on the context;
“Awake ye sons of Spain, awake, arise! (Byron) - (arise - revolt).
Contextual meaning of words in poetry serves the purposes of stylistic convergence:
“When the evening is spread out against the sky
Like a patient etherized upon a table.” (G.Eliot)
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