7Ask, and you will receive; seek, and you will find; knock, and the door will be

opened to you. ⁸ For everyone who asks will receive, and anyone who seeks will

find, and the door will be opened to him who knocks- ⁹Would any of you who are

fathers give your son a stone when he asks for bread? ^I00r would you give him a

snake when he asks for fish? ¹¹ Bad as you are, you know how to give good things to

your children. How much more, then, will your Father in heaven give good things to

-54­tboae who ask him! ^I2Do for others what you wast them to do for you: this is the meaning of the Law of Moses and of the teachings of the prophets-

Good News Bible. Today's English Version. -Glasgow: W. Collins Sons, 1976.-1298 pp.

От Матфея, глава 7.

He судите, да не судимы будете;

2. ибо каким судом судите, таким будете судимы; и какою мерою мерите, та­кою и вам будут мерить.

3. И что ты смотришь на сучек в глазе брата своего, а бревна * твоем глазе не чувствуешь?

4. Или, как скажешь брату твоему: дай, а выну сучек из глаза твоего; а вот в твоем бревно?

5. Лицемер! вынь прежде бревно из твоего глаза, и тогда увидишь, как вынуть сучек из глаза брата твоего.

6. Не давайте святыни псам и не бросайте жемчуга вашего пред свиньями, чтоб они не попрали его ногами своими н, обратившись, не растерзали вас.

7. Просите, и дано будет вам; ищите, и да найдете; стучите, и отворят вам;

8. Ибо всякий просящий получает, и ищущий находит в стучащему отворят.

9. Есть ли между вами такой человек, который, когда сын его попросят у него хлеба, подал бы ему камень?

10. и когда попросит рыбы, подал бы ему змею?

11. Итак если вы, будучи злы, умеете даяний благие давать детям вашим, тем более Отец ваш Небесный даст блага просящим у Него.

12. Итак во всем, как хотите, чтобы с вами поступали люди, так поступайте ■ вы с нами; ибо в этом закон я пророки.

Библия млн Книги Священного Ветхого и Нового Завета в русском переводе. - Изд. Свято-Троипхой Серге­евой Лавры. 1992,-1525 с

Prayer of Consecration at the Communion

Almighty God, our heavenly Father, who of thy tender mercy didst give thyne

-55­one Son Jesus*Christ to suffer death upon the cross for our redemption; who made there (by his one oblation of himself once offered) a full, perfect, and sufficient sacrifice, oblation and satisfaction, for the sins of the whole world; and did institute, and in his holy Gospel command us to continue, a perpetual memory of that his precious death, until his coming again; Hear us, О merciful Father, we most humbly beseech thee; and grant that we receiving these thy creatures of bread and wine, according to thy Son our Saviour Jesus Christ's holy institution, in rememberance of his death and passion, may be partakers of his most blessed Body and Blood-Quoted from D. Crystal and D.Davy. Investigating English Style. - London: Longmans, 1969, p.154.

The Lambeth Conference 1948

London S.P.C.K. 1948

Епископская кощреренцвя, собираемая непериодически и нерегулярно, -высший (рорум английской иерархии; данная конференция состоялась в июле-августе 1948г., приняла пастырское послание участников (среди представите­лей всех континентов) и ряд резолюций по решению конференции, вступление, последняя и первая его часть образуют собственно "послание", которое должно быть прочитано во всех храмах G.B. 10 октября 1948г.

-"The Preface and first part of this Encyclical Letter form a Message from the assembled Bishops to be read in church on October 10,1948".

ENCYCLICAL LETTER

to the faithful in Jesus Christ August 8, 1948. We, Archibishops and Bishops of the Holy Catholic Church, three hundred and twenty nine in number, assembled from all parts of the earth at Lambeth, in the year of our Lord 1948, under the presidency of the Archibishop of Canterbury, with whom, as with one another, we are in full communication, give you greeting in the name of our Lord and Saviour Jesus Christ. Meeting again Conference after a long interval of eighteen years and after the grievous separations of war we declare our thankfulness to Almighty God for the profound and joyful experience in this meeting, of our unity in the faith of Christ and in the fellowship of the Holy Spirit. Many of you in distant parts and near to us, have been upholding us in your

- 56 ­prayers-We ask you to share our thanks giving that God N«bkrjitustogether in heart and mind, and to expect that, by our interchange of гпеп.^&р and counsel, all the Churches and congregations which we represent, will receive strength and enco­uragement.

Mindful of the sacred commission which we bear in the Ministry given by our Lord through his apostles to the Church.we have devoted ourselves for five weeks,with earnest prayer and eucharist, to grave deliberations. In the second portion of this Letter we review the course of our discussions. In this first рал, we address a message to all our people and indeed to all who will listen to us, asking that it may be read in every place of worship in the Anglican Communion to each congregation in its own language, on Sunday, October 1948, if there be any place which it has not reached by then, on the first possible Sunday there after.

1

The Church is not something made by men. It is the instrument of the living God for the setting - forward of his reign on earth. God in Christ has won the victory. The Church lives in the power of the Resurrection. Tne gates of Hell cannot prevail against it. This is an hour of testing and peril for the Church, no less than for the world. But it is the hour of God's call to the Church. Thus the keynote of our message is encourgement to the heaple of God all the world over. For those who have eyes to see, there are signs that the tide of faith is beginning to come in.

We know well how hard it is for many of you to live as Churchians in the present age. Some of you have to meet opposition in non-Churchian homes; some are a small minority of Churchians in non-Christian lands. Many of you are trying to bear your witness in face ui contempt and ridicule, in the places where you work day by day. All at times are tempted to lose heart and to wonder whether, if possible, it is worth while. We are certain that it is possible and everything, and we write this letter to tell you why.

Remember that some of the Fust believers were slaves owned by non-Christian masters. They suffered persecution for Christ's sake. It was often hard for who were in Christ before us. Because they were faithful in their generatir's, the light still shines in the House of God and the torch of faith has been carried across tne earth. Many of the younger Churches in our Community, during the last hundred years have

-57­been bom m*maityroom, and in our own day this witness unto death has been renewed. The Christian life is always difficult. The fight against evil is always costly. Without the Cross, there could have been no Resurrection. But the Resurrection is the guarantee that the love of God is stronger than death or evil.

Whatever man may do, God is undefeated. God icings. The world belongs to Him, and in it He is working out that purpose which he has revealed to us in Jesus Christ. He uses imperfect and sinful men to be hs servants. Christians may not always be better than their neighbours, but we serve a better Master. His is the cause that has life and hope in it.

This life and hope are offered to the world. Only when the sovereignty of Christ as owned in our communities can they become what God wills them to be. Societies that are built on other foundations are built on sand. In the world of our time two ways of living, two beliefs concerning the meaning of human life, contend with one another for man's soul. The battle is between that faith in God and man through Christ, by which man is set free, and {against it) the creeds of materialism and the will to power, by which he is enslaved. The Church is the champion of man against all that cheapens and degrades him; for the Gospel is the charter of man's dignity. The mission of the Church, now as always, is to proclaim and live out the Gospel by which alone men can be saved from sin and judgement, and the world from despair and self-destruction. The Social order is all the time being made by the thoughts men think, the loyaties they honour, and the deeds they do or leave undone. If the Church is to be to the world as salt, which preserves civilization from corruption and keeps life wholesome, there must be something distinctive about us Christians - in the way we do our daily work, in the homes we make, and in the standards by which we live. We must take our full part as citizens. Yet, in so doing, we must not forget that we are citizen of a heavenly Kingdom and inheritors on an eternal destiny. While we seen to serve our earthly cities our allegiance always is to Christ the King; and to hold by that is our highest contribution to the good of those among whom we dwell. For freedom and justice in the world depend on there being enough men and women who say, "We must obey God rather than men."

What is wrong with the world is that it has forsaken or never known the true God

and is defying His moral law. We long for peace, but there can be no peace which is

not founded on justice, and there can be no justice unless men acknowledge the

authority of God. Science is putting into the hands of men new and incalculable power.

-58-

But this power is turned to disaster and destruction when men forget that it is given by God to be used for the fulfilment of His purpose. Once we ignore the first and great commandment, we do not long obey the second, and sooner or later ruin follows. "Thou sbalt worship the Lord thy God, and Him only shall thou serve". Man must worship. Only by so doing can he preserve his true nature and standing as a child of God. The ancient word still speaks to all of us: "Take heed that ye forget not the Lord your God".

Thus the supreme ask of the Church to-day is to win the nations of Christendom back to the knowledge of God revealed in Jesus Christ as Judge and Saviour, and to take the good news to those who have not yet heard it. We call on all our people to engage in this campaign and to put themselves into training for it. Every man, woman and child has his part to take. God, in his mercy, has given to us in our Conference a clearer vision of His will and purpose for His Church and of his mission in the world- To these we bid you dedicate yourselves.

That dedication is already being made by faithful Christians of every race, and not least in the devoted service offered by their clergy. But for more priests are needed, and, if the supply of men called and equipped for ministry is lacking, all Christian strategy must, humanly speaking, fail. With them are needed men and women for many other forms of whole-time service, and therefore a revived sense of vocation throughout the length and breadth of die Church. There is do place in the Church for those who will not try to honour the obligations of their membership. We thankfully recognize how many do so honour them, how great is the zeal of many of our younger people, and how much is owed to the witness of faithful! congrega­tions and to church wardens and other office-bearers. But all must take their full share.

We must show that we put God first by regular worship on the Lord's Day. We must put our minds to the understanding of our religion, so that we may meet men's doubts and questions with a reasoned faith. We must bring the teaching and example of Christ into our everyday lives. We must do our duty in praying for the Church's work. The Church in the diocese and parish is the key to whole situation.The local congre­gation is the place where men must find the life of the Great Church, which is God's instrument for the world's Salvation. See to it, then, that your congregation is a true community in Christ, that it may influence the common tife of its whole neighbour­hood. Nothing that is good in the sight of God should be outside the Church's interest

-59-

And since Christ's cause in the world can never be fully served by a divided Church, we also lay upon you the duty to take every opportunity of cooperating with . Christians of other Churches, and to work and pray for the Reunion of Christendom.

Finally invite all men and women to join with us under Christ's banner in the war against the evils which wreck man's life and 3gainst the false creeds which debase it. In that war there can be no neutrality. To those who stand aloof Christ says: "He that is not with me is against me"..

So we commend you to God's love. May He supply all your need, according to the riches of his grace.

MORAL CRISIS

The Church in action.

The educational and remedial work of the Church of England Moral Welfare Council in matters of Sex, Marriage and the Family. -London, 1950,- 30p.

THE CONQUEST OF FALSE IDEAS

Thus even the simplest and most direct kind of moral welfare work will always be more than remediaLThe need for it is created, in large measure, by ignorance, fear, false attitudes, misunderstanding, and not only by sexual sin. Thus is true of marriage which break down and love affairs which go wrong, as well as of more casual or merely promiscuous relationship.

The Denning Committee, set up by the Government to enquire into ways and means of checking the rising flood of divorce, reported that in its view "false ideas" about marriage were the principal cause of disharmony, failure and breakdown.

Those who have never learned, at home, at school, in church, or in a youth orga­nization, the true nature of sex and love, the inner meaning of chastity, and the divinely ordered purpose of marriage and parenthood, are only too likely to be misled by the half-norths and falsehoods which scream at them from the cinema, from advertisement columns, from novels and magazines: "Sex is what you were made for. Sexual experience is die thing you can't do without If you miss it, you miss the thing most worth having in life and if you do not get all you want in marriage you are free to seek if elsewhere".

The Problems of Conduct A great many peoples, of course, have other and healthier attitudes. There are

-60­countless happy homes and successeful marriages in every social group. Thousands of children now growing up have been wisely taught by parents and other peoples, and do not suffer the tortures which ignorance, fear and a morbid sence of quiet fastened upon so many in previous generations.

Nevertheless, there is abundant evidence to show that even today abolescents receive too little help with their problems and anxieties, and too little education which meets their deepest needs. "Now I know how a baby is bora", said a giri after hearing a lecture at her school, "but I still don't know how far it is right to go when I'm out with my boy-frind". "Please don't waste anytime telling us about oursex organs", pleaded a deputation of grammar school boys which waited upon the speaker before the meeting began: "Tell us instead, if you can, why trial marriage is wrong, and what the Church has to say about contraception, divorce, and artificial insemination".

Christian Practice. Religions Society of Friends in Great Britain (Quakers) London 1950,164 p.

Второй том из трехтомного сборника руководящих материалов - типа хре­стоматии; для квакеров важнее такое руководство, чем для других, поскольку они не имеют штатных проповедннков-патеров и общаются напрямую с всевышним существом.

The practice of the early Friends were based upon no code of laws, no rule of life, imposed from the spiritual experience, individual and corporate, of immediate human converse with God, of contact through faith with divine resources of love and power, of filial cooperation in the divine purposes. Friends are convinced that the same inspiration which have been known in the past, will continue to solve all perple­xities of conduct...

THE FIRST DAY OF THE WEEK

We earnestly exhort our members to use faithfully the privelege of spending the first day of the week in such a spirit and with such occupations as befit the friends and servants of Master whose name we bear. It's not difficult to make the day a very happy one for children, whilst carefully guarding its special character. By reserving some occupations as special privileges to be used on this day only by adapting the

-61­methods employed to the age and character of each child, and, most of all, by loving companionship and by our own example, we may lead them to value the day of rest as those can never do who spend it under severe restraint on the one hand, or waste it in selfpleasing on the other - 1911, 1925.

We offer a word of loving entreaty to those who, though their desire to spend weekends away from home, are unwilling to avail themselves of the large opportu­nities for Christian service afforded by our meetings for worship, schools and similar agencies. In many centres our work is hampered on account of difficulty of finding Friends willing to promise regular attendance and help, because they desire to hold themselves free for weekends absences. In most kinds of Christian efforts however, nines for Christian service afforded by our meetings for worship, schools and similar agencies. In many centres our work is hampered on account of difficulty of finding Friends willing to promise regular attendance and help, because they desire to hold themsel free for weekends absences . In most kinds of Christian efforts however, it is only by the sacrifice of freedom involved in regular attendance , that the intimate knowledge of persons and circumstances , which give to such work its chief value, can be gained. We have no desire to judge others , and there are doubtless some to whom a week-end in the country may be not merely pleasant and refreshing, but necessery; yet we ask all to consider whether what is gained through such relaxation may not be outweighed by the loss - on the one day of leisure possible to many - of opportunity for fellowship and joy of service .-1911

ART

The practice and study of the arts brings a great enrichment of life and in their cultivation we are seeking to share some of the loftiest experiences that life can offer. A training in the power to appreciate and to create should be within the reach of all.

The artist at his best is not merely an imitator or reproduser but a creator . His work is the realisation of a vision which he feels forced to express, regardless whether it will be appreciated or even noticed by others . If he succeedes, the looker on, or the listener, will be drawn into the power of this vision and will feel as the perfect expression of a thought. He shares the creation power of the Divine Creator.He

-62­reveals new truth, and opens his eyes to wonders we have ■ -здкот.Не may be inspired to such activity by the contemplation of existing *r . -xt aature or in human life , but the result of that impact upon him is sowc • -ч. -?<;-. idual. and something new

We feel that the creative artist is directly inspired , and thai evw?y great work of art is one way in which the Divine Mind is revealed through men: so let us not deny this gift even if only afar off. The mere effort to enter into the experience of the poet, painter, sculptor or musician, and to see things with their eyes, enlarges our own vision, deepens our thought and feelings, and broadens our conception of the Divine.-1925

PAINTING, SCULPTURE AND ARCHITECTURE Art is the expression in beautiful or significant form of the vision of the life that the artist has experienced. The paiu.er. by landscape, portrait, or design in which colour line unite to convey beauty and meaning, and the sculptor, by the massing and chiselling of marble or the moulding of plastic clay, recreate for us the images of all lovely and characteristic forms of life. The architect together with his fellow-craftsmen - the builder, the carpenter and the porter fulfils the further function of making things that are not only beautiful but useful for the needs of men. Whatever the medium in which he works, the artist performs a service of social and spiritual value. For he helps us to see with him the beauty of the world, and to share his emotions, sometimes by reminding us of things we have already felt, sometimes by bringing home to us for the first time their beauty and significance.

" An was given for that; God uses us io help each other so, Deciding our mind out."

... < R. Browning, Fra Stppo Sippi >

MUSIC

Music was one of the earliest forms in which men gave beautiful expression to their feelings, and song is still among the first joys of childhood. Г-light in melody and rhythm is deeply rooted in human nature, and without it man's personality suffers loss.

ir rightly guided, this capacity will grow pimp*? шб naturally into an appreciation of good music. It is of spiritual importance, fiere as elsewhere, to be able to disting­uish between the good and the bad, the beautiful and the ugly, the noble and the trivial. This is especially true at the present time , when mechanical devices are bringing the best and the worst music alike within ever easier reach .

The earliest years of child's life are of great importance in the growth of this power to appreciate good quality in music. The musical taste of the young generation is formed by the songs the mother sings to her baby , by the tunes the child hears in his early years, by the music while he finds that his parents and teachers themselves enjoy . If these are good , the child will be able later to enter more and more into his heritage of beauty and thus to bring richer, purer contrubution to the common life .

These natural gifts, whether they be for performance and creation or for general appreciation , deserve the chance of full development, and may demand special and ample training. The technical mastery of an instrument will be of value to those who show a real aptitude , but all may learn in measure Ю feel the beauty of pure and lovely melodies, and to enter into the glory of the works of the great composers. To many, music is a means of expressing the deepest things in their expercence, and of bringing them in touch with God .-1925

LITERATURE

Literature , like other arts , is a means of revelation ; all good books are in their measure sources of insight and inspiration. By literature gates are thrown open , we

are enabled to breathe an atmosphere and to join a company to which we have perhaps no other access. By this contact, whether in poetry or prose, we are helped to escape from self-centredness of purpose, and from superficiality of outlook. Our sympathies are broadened,our despondency cheered, and our pride humbled by thus sharing in the life experience of our fellows, who have left us the record of what they endeavoured and endured, of their failures and dreams and achievments. Moreover, we can turn to the good book and the truth it has treasured, as a touchstone to expose either the triviality or insincerity of thought and feeling in the written or the spoken word. The study of the literature and thoughts of the past should help us to discern and welcome new truth and beauty in the writing of our own day, to appraise more justly contemporary thoughts and action, to judge our fellow men without prejudice,

and to see ourselves without illusion.-1925

- 64 -

UNIT 6. THE BELLES -LETTRES STYLE

The belles-lettres style is a generic term for the following three substyles: 1) the language of poetry (verse), 2) emotive prose (fiction) and 3) drama. Despite the fact that the forms of realization of these substyles, known also as "genres" are rather varied in their size and linguistic properties, still there are several principal features that make us think they belong to a single entity.

First of all comes the common function of the belles-lettres style which is broadly termed as "aesthetico-cognitive" and which aims at the cognitive process on the one hand, and at receiving pleasure on the other one. The cognitive process secures the gradual unfolding of the idea to the reader, and at the same time it causes a feeling of pleasure from the form in which the content is presented.

The belles-lettres style rests on certain important unguistic features which include:

1. Genuine imagery achieved by purely linguistic devices.

2. The use of words in contextual and very often in more than one dictionary me­aning.

3. A vocabulary which will reflect the author's personal evaluation of things or phe­nomena described.

4. A peculiar individual selection of vocabulary and syntax, a kind of lexical and syntactical idiosyncrasy.

The above features are observed in all the three substyles of the belles-lettres fun­ctional style - in poetry, in emotive prose and in drama; of course, the features manifest themselves differently in a given style, and. in addition, each substyle possesses some other specitific features.

For instance, the salient feature of poetry is its orderly FORM, which is based pri­marily on the rhythmic and phonetic arrangement of the utterance, and which is easily recognizable. Even short verse forms are set forth in a specific graphical variant of presentation where lines are arranged into columns.

The external differentiating features of poetry tike rhythm and rhyme influence its syntax and semantics - the fact is well known to everyone who has ever tried to write verse: one has to be very attentive in the choice of words in order to compose rhyth­mically arranged lines, the same form requirements bring about noticeable changes into the syntax of poetical works, too.

Among the lexical peculiarities of verse is also IMAGERY, winch, being the generic

-65­feature of the belles-lettres style assumes in poetry a very compressed form * with its rich associative power, frequent occurrence and surprising variety of means and de­vices of materialization (like metaphors of different types, metonymies, similes etc).

The EMOTIONAL element is used in poetry to its full measure, this tendency finds its embodiment here in a great number of emotionally coloured words, many of which have been regarded as poetic words. The general impression is that words in verse mean more than they mean in ordinary neutral communication; they are intended to last longer and this is partially achieved by the connections the words have with one another, and, to a cemin degree, by the rhythmical arrangement which makes words stand out more conspicuous, so that they seem to carry more significance.

Another substyle of the belles-lettres functional style - emotive prose - is sometimes termed "fiction", and the term seems apt since most of the works of creative authors reflect facts, events and characters which have never lived in reality, but inhabited the imaginative worlds of the authors. As P.Nycrog says, 'fiction is, seroanticaHy speaking, a variant of the lie- Fiction is in itself a game played between the writer and the reader, in accordance with certain rules; the understanding is that we will even take pleasure in the author's enunciation of untruth'.

The subtyle of emotive prose possesses all the generic features pointed out above, but imagery is not so rich, as in poetry, the number of words with contextual meaning is not as high as in poetry, the idiosyncrasy of the author is not so noticeable. In addition to that it would be possible to define the emotive prose substyle as a combination of the spoken and written varieties of the language, since there are always two forms of speech present - monologue (usually the author's speech) and dialogue (the speech of charac­ters). The language of the author is expected to conform to the literary norms while the language of a character will rather present a stylized version of the colloquial style. It is necessary to stress that the colloquial language in the works of most writers is not an authentic reproduction of the natural speech of living people; it has been made "literatureiike", but, nevertheless, there always remain certain elements deliberately chosen so as to characterize the person himself.

Unlike the emotive prose, where there is a combination of monologue (the author's speech, the character speech) and dialogue (the speech of characters), the language of plays is entirely dialogue or polylogue; the author's speech is present only in the playwright's remarks and stage directions.

The language of characters, of course, is in no way the exact reproduction of the

-66-

Colloquial speech, thus its stylization is one of the features of plays for which there are teveral reasons, stemming from the specific scenic rules which a* i 'ixa result of a long evolution of the art of drama. People on the stage talk but, unlike in real life, their Speech is never interrupted spontaneously. Further, in plays the character's utterances are generally much longer than in ordinary conversation, so that sometimes the audien­ce listens to a series of monologues still within the framework of a dialogue.

A certain degree of restriction is noticeable in the choice of words which is also influenced by the aesthetic aspect of the work. The playwrip Jit has to keep in. mind the fact that the words of the characters are to be spoken out in front of a large mass of people with differing cultural background, so he has to choose the words that are easily perceived and understood by everyone present. So phrases of dialogue, live and fleeting in its nature, are made lasting, with certain improvements in their acoustic parameters, for they are intended to be reproduced many times by different actors with different interpretations.

Exercises

1. Write out the stylisic devices creating imagery in the poem by W .Wordsworth. Mind that despite its laconic form the poem contains epithets, a metonymy, a simile, at least two types of metaphors, a hyperbole and a periphrasis. State the formal properties of the poem: the type of rhyme, the metrical pattern, point out the cases of elision and enjambement.

2. The extract from "the Citadel" serves a good example of the ability of styles to penetrate one another. Tell what role can medical terms play in the context of the novel by A. Cronin. Find the style markers (both lexical and syntactical) in the fragment, and comment on them.

3. Describe the main styleforming features of drama as observed in the extract from the play by O. Wilde.

SAMPLE TEXTS.

foetry

She dwelt among th' untrodden ways Beside the springs of Dove, A Maid whom there were none to praise And very few to love.

Среди нехоженых дорог. Где ключ с.уденый бил. Ее узнать никто не мог И мало кто любил.

A violet by a mossy stone Фиалка пряталась в лесах ,

Half-hidden from the eye Под камнем чуть видна.

- Fair as a star, when only one Звезда мерцала в небесах Is shining in the skyt Одна, всегда одна.

She liv'd unknown, and few could know He опечалит никого,

When Lucy ceas'd to be; Что Люси больше нет.

But she is in her grave, and, Oht Но Люси нет - и от того

The difference to me. Так изменился свет.

W. Wordworth. Lucy Перевод С.Я. Маршака

Prose

But, besides talking, be listened. He smiled when Andrew related his experience with the sewer in the typhoid epidemic at Blaenelly. He showed a deeper interest in the view mat the anthracite workers were more liable to lung troubles, than other under­ground workers.

Stimulated by Owen's presence, Andrew launched into this subject with great ardour.

He had been struck, as the result of many painstaking examinations, by the large per-centage of the anthracite miners who suffered from insidious forms of lung disease. In Blaenelly many of the drillers who came to him complaining of a cough or a " bit of phlegm in the tubes" were in reality incipient or even open cases of pulmonary tuberculosis. And he was finding the same thing here. He had begun to ask himself if there was not some direct connection between the occupation and the disease.

" You see what I mean?" he exclaimed eagerly. "These men are working in dust all day, bad stone dust in the hard headings — their lungs get choked with it. Now I have шу suspicion that it's injurious. The drillers, for instance, who get most of it— they seem to develop trouble more frequently than, say, the hauliers. Oh! 1 may be on the wrong track. But Г don't think so I And what excites me so much is — oh, well I it's a line of investigation nobody has covered much. There's no mention in the Home Office list of any such industrial disease. When these men are laid up they get a penny piece

of compensation!"

- A J. Cronin

The Citadel. Higher School Publishing

House, Moscow, 1966, _pp, 172,173

-68-

( Scientific writing)

LUNG DISORDERS pneumonia - inflammation of the lungs

Pneumonia is ад infectious condition usually caused by pneumococci and less frequently by staphylococcal, fungal, or viral agents. The infection damages the alveolar membranes and they become porous, allowing fluid and sometimes blood cells to escape from the blood into the alveoli. Oxygenation of the blood is diminished because of inflammatory material in the damaged alveoli.

tuberculosis - a pulmonary infection leading to the formation of small tubercles (nodes) in the lung.

Tuberculosis is caused by a bacterium called the tubercle bacillus (rod-shaped bacterium). Small tubercles composed of inflammatory cells, such as lymphocytes and monocytes, and bacteria form in the lung tissue. These diseased tubercles can spread not only in the lung but throughout the lymph and blood vessels to other parts of the body.

Davi-Ellen Chabner. The Language of Medicine. Moscow, Vysshaya Shkola, 1981. p. 166

Drama

THE IMPORTANCE OF BEING EARNEST ACT ONE

SCENE; Morning-room in Algernon's flat in Half-Moon Street, London, W. TIME: T lie present. The room is luxuriously and artistically furnished. The sound of a piano is heard in the adjoining room.

LANE is arranging afternoon tea on the table, and after the musk ceased, ALGERNON enters.

ALGERNON: Did you hear what 1 was playing, Lane? LANE; I didn't think it polite to listen, sir.

ALGERNON: I'm sorry for that, for your sake. I don't play accuratery— any one can play accurately—but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life.

LANE: Yes, sir.

ALGERNON: And. speaking of the science of Life, have you got the cucumber sandwiches cut for Lady Bracknell?

-69"

LANE; Yes, sir. (Hands them on a salver.)

ALGERNON: (inspecting them, takes two, and sits down on the sofa): Oh!... by the way. Lane, I see from your book that on Thursday night, when Lord Shoreman and Mr. Vorthing were dining with me, eight bottles of champagne are entered as having been consumed.

LANE: Yes, sir; eight bottles and a pint.

ALGERNON: Why is it that at a bachelor's establishment the servants invariably drink the champagne? I ask merely for information.

LANE: I attribute it to the superior quality of the wine, sir. I have often observed that in married households the champagne is rarely of a first-rate brand.

ALGERNON: Good heavensl Is marriage so demoralising as that?

LANE: I believe it is a very pleasant state, sir. I have had very little experience of it myself up to the present. I have only been married once. That was in consequence of a misunderstanding between myself and a young person.

ALGERNON (languidly): I don't know that I am much interested in your family life. Lane. *

LANE: No, sir; it is not a very interesting subject. Г never think of it

myself.

ALGERNON: Very natural, I am sure. That will do, Lane, Thank you. LANE: Thank you, sir. LANE goes out.

ALGERNON: Lane's views on marriage seem somewhat lax. Really, if the lowerorders don't set us a good example, what on earth is the use of them? They seem, as a class, to have absolutely no sense of moral responsibility. Enter LANE. LANE: Mr. Earnest Worthing. Enter Jack. LANE goes out.

O. Wilde. The Works of Oscar Wilde. Collins, London and Glasgow, 1963. - p. 321

-TO­f

UNIT 7. The Colloquial Style.

The colloquial style is a peculiar subsystem of the English language. On the one hand, its major field of application is found in the spoken variety of language , on the other hand, elements of this style penetrate the written varieties such as the belles-lettres style, the publicistic style and the newspaper style, etc.

When written, the colloquial style $ function is to render the specificity of everyday conversation. Underlying many of its specific features are the following factors:

1) the spontaneous character of communication; 2) the private character of commu- nication; 3) face-to-faceness.

The first of the above factors, the spontaneity of speech production is. perhaps, the most noticeable one, and Alongside the other two, is reflected - this way or another -in the four tendencies which may explain many of the peculiarities of the colloquial style: 1) prefabrication and 2) creativity, 3)compression and 4) redundancy. Let us consider them at some length.

1 > The colloquial style has a great amount of ready-made formulae, cliches, all kinds of prefabricated patterns. Spontaneous conversation is facilitated by using stereotyped units. One can mention among them the so-calleo social phrases such as greetings (hello, how are you?), thanks and responses (thank for..., not at all-.., a pleasure, etc.)

2. Creativity is also a result of spontaneous speech production. We make our conversation as we go along. We have no time to polish it deliberately, but one can do corrections, thus there are many hesitations, false starts, loose ends in grammar and syntax.

3. Compression tends to make speech more economical and laconic. It is reflected in the use of the following language phenomena:

1. Shortened t'orms and clipped words (nouns: fridge, lab, math; verbs: am - 'tn, is -'s, are - 're, have -'ve, etc.).

2. Words of broad semantics (thing, one).

^ c) Ellipsis is usual in face-to-face communication as the situation (context) easily supplies the missing pan (Same time, same place?)-

d) Simplicity of syntax. Long sentences are seldom used in colloquial informal communication, for a simple reason nut the speaker doesn't want -> lose the thread of his own thought.

4) Redundancy reflects another aspect of unprepared speech production. Among me elements inflecting this tendency are:

1. time-fillers (you know, I say, let me see, sort of).

2. the pleonastic use of pronouns (John, he is late).

3. senseless repetition of words and phrases. (Liza: I'm a good girl, I am.) Vocabulary is a noticeable aspect of the colloquial style. It may be subdivided into

a) literary, b) familiar, and, c) low colloquial layers though the dictionaries do not reflect this division adequately. (Students are recommended to expand this section of the colloquial style description - by using their knowledge of lexicology).

It should be stressed once again in the conclusion, that when you come across colloquial elements in the written forms of speech (plays, novels, stories, etc.) you always see that most of the "loose ends" of live conversation are thoroughly "trimmed" though the degree of such stylization is varying, the result realistically reproduces the typical features of the colloquial speech. Exercises:

1. Read the extract from "Pygmalion" by B. Shaw and point out the peculiarities of Lisa Doolitle's speech. Note the graphical means that convey her specific accent, as well as the grammatical features of her speech.

2. Try to classify the language markers you have collected into two groups under the corresponding headlines: 1) compression, and 2) redundancy.

SAMPLE TEXTS. THE COLLOQUIAL STYLE.

Consider two samples of speech conveying the same information: 1) Marvellous beast, a fox. Great places for wild life, these wooded chines; so steep you can't disturb them - pigeons, jays, woodpeckers, rabbits, foxes, hares, pheasants - every mortal thing. 2) What a beast marvellous a fox is! These wooded chines are splendid places for wild life. They are so steep that one can't disturb anyting. Therefore one can see every imaginable creature here - pigeons, jays, woodpeckers, rabbits, foxes, hares and pheasants. \^

An extract from G.B. Show's'Prgmaiion"

h1ggins. Why, this is the girl I jotted down last night She's no use: Ive got all the records I want of the Lisson Grove lingo; and I'm not going to waste another cylinder on it (To the girl) Be off with you: I don't want you.

THE FLOWER GIRL. Dont you be so saucy. You aiflt heard what I come for yet. (To Mrs.Pearse) Did you tell him I come in a taxi?

Mrs.PEARCE. Nonsense, girl! What do you think a gentleman like Mr Higgins cares what you came in?

THE FLOWER GIRL. Oh, we are proud! He aint above giving lessons, not him: I heard him say so. Well. I aint come here to ask for any compliment; and if my money's not good enough I can go elsewhere. HIGGINS. Good enough for what?

THE FLOWER GIRL. Good enough for ye-oo. Now you know, dont you? I'm come to have lessons, I am. And to pay for em too: make no mistake. HIGGINS. Well!!! What do you expect me to say to you?

THE FLOWER GIRL. Well, if you was a gentleman, you might ask me to sit down, I think. Dont I tell you I'm bringing you business?

HIGGINS. Pickering, shall we ask this baggage to sit down, or shall we throw her out of the window?

THE FLOWER GIRL. Ah-ah-oh-ow-ow-ow-oot I wont be called a baggage when Ive offered to pay like any lady. PICKERING (gently) But what is it you want?

THE FLOWER GIRL. I want to be a lady in the flower shop stead of sellin at the corner of Tottenham Court Road. But they wont take me unless i can talk more genteel. He said he could teach me. Well, here I'm ready to pay him - not asking any favor -and he treats me zif I was dirt.

G.B.Shaw Pygmalion. - Moscow, 1972, p.26.

SUMMARIZING EXERCISES It is important io studying any subject to have a very brief outline of what you have read; especially if you arrange things in a systematised way. What we suggest you at this stage of work is to copy the plan (schema) for describing the main fuctional styles of the English language, and fill in the gaps with your own examples of discourse markers (style markers or styleforming features).

The style of official documents

FUNCTION: to reach agreement between two contracting parties; to state the condi­tions binding two parties in an undertaking. SUBSTYLES: diplomatic documents

business documents

legal documents

military documents Thesryiwforming features:

1. The use of specific compositional design^ (a special pattern for each document). E. g: any treaty comprises

2. Clishes

3. Terms

4. The encoded character of the language '

5. Abbreviations

6. Symbols

7. Words only in direct meaning, no contextual meaning (why?)

8. Absence of any emotiveness

9. Conventionality of expression.

The scientific prose style

FUNCTION: to prove the results of scientific research and to convey exact scientific

information. SUBSTYLES: the Humanities Sciences (exact) Popular scientific prose-

The styleforming features:

1. The use of terms

1. Absence of any contextual meaning

(Think of how to comment the few metaphors in use in the style).

3. Logical sequence of utterances resting on a developed system of connectives, e.g. connectives showing order

result

contrast

4. The use of quotations and references (what types?)

5. The use of footnotes (digressive in character).

6. The impersonality of expression - by wha; language means is it achieved on the level of grammar

7. The frequent use of "attribute-noun chains"

The newspaper style FUNCTION: to inform and instruct the public through foreign and domestic news,

commentary, advertisements and announcements. SUBSTYLES: short news items reports and articles announcements & advertisements headlines. The styleforming features: the use of:

political terms, e.g

economic terms ,

non-term political vocabulary

cliches

abbreviations

neologisms

emotionally coloured words

The publicistic style

FUNCTION: to influence public opinion through logical argumentation and emotional

appeal; brainwashing function. SUBSTYLES: oratory essays

articles in journals and newspapers TV and radio commentary (oral) The styleforming features:

1. The use of direct address, e.g.

2. The use of pronouns 1, you, we

3. Connectives

4. Expressive and emotional elements

5. Tropes

6. Set expressions •

7. Clishes

8. Colloquial elements

The style of religion

FUNCTION: expressing religious belief on public occasions;

eplaining the existing world; regulating individual/group behaviour. SUBSTYLES: biblical

Uturgical

theological

The styleforming features:

Graphical means:

The use of direct address

Pronouns

Archaic pronouns

Archaic forms of verbs

Root repetition

Tropes

Set expressions

Religious terms

Syntactical stylistic devices

The colloquial style

FUNCTION: (when written) to render the specificity of everyday conversation /

informal speech. SUBSTYLES: literary colloquial

unceremonious colloquial popular speech The styleforming features:

Typified constructions and conversational formulae

Phrasal verbs

Compression: shortened forms

clipped words

words of broad мпяШи*

ellipsis

the simplicity of syntax.

Redundancy: time-fillers

the pleonastic use of pronouns

. senseless repetition of words and phrases

The belles-lettres style

FUNCTION: aesthetico-cognitive function (to give the reader delight from the form and the understanding of the idea. SUBSTYLES: poetry

emotive prose

drama

The styleforming features:

1. Genuine imagery achieved by purely linguistic devices as:

- metaphors, e.g. ■

- similes

- metonymies -.

2. The use of words in contextual meaning

3. An individual choice of vocabulary reflecting the author's evaluation of a thing.

4. A peculiar selection of syntax reflecting the author's frame of mind.

5. Systematic use (in emotive prose) of colloquial elements, and exclusively in drama.

Вучвбнае ввдаяне БУРЛАК Тамара Фаддзееуна ДЗЕЙСШ Аляксаядр Паулав1ч

ВУЧЭШЫ ДАЯАМ0Ш1К

па функцыянаяаяых сталях сучаснай англ1йскай мовы

На антл1йскай мове

Адказяы за выпуск А.ГТ.Дзеук1н.

ПздШсаяа да друку 01.07.93. Фармат 60 х 84¹'16. Папера афсвт. Афсет.друк. Ум.-др.арк.4,53. Ум.фарб.-ад<5.4,64. Ул.-. внд.арк.4,33. Тираж 250 экз. Заказ . ЦанаЗТ20 р.

MIhckI дзяржауни л1нгв1стячяы уШверЫтэт 220662, r.MiHQK, Захарава, 21.

Пал1граф1чна участак М1нокага дзяржаунага л1нгв1стычнага ун!веро!тэта

220662, r.MlHCK, Захарава, 21.