Exercises:

1. What courage can withstand the everduring and all besetting terrors of a woman’s tongue? (W.Irving)

2. …as we passed it seemed that two worlds were meeting. The world of worry about rent and rates and groceries, of the smell of soda and blacklead and “No Smoking” and “No Spitting” and “Please Have the Correct Change Ready” and the world of the Rolls and the Black Market clothes and the Coty perfume and the career ahead of one running on well–oiled grooves to a knighthood…(J.Braine)

3. “Funny how ideas come,” he said afterwards, “Like a flash of lightning.” (Maugham)

4. Kirsten said not without dignity: “Too much talking is unwise.” (Christie)

5. “I’ll smash you. I’ll crumble you, I’ll powder you. Go to the devil!” (Dickens)

6. His arm about her, he led her in and bawled, “Ladies and worser halves, the bride!” (S.Lewis)

7. I then found a couple of stale letters to reread, one from my wife… and one from my mother–in–law, asking me to please send her some cashmere yarn. (Salinger)

4. Graphical and phonetic expressive means

Graphical expressive means serve to convey in the written form those emotions which in the oral speech are expressed by intonation and stress. We speak here about the emphatic use of punctuation and deliberate change of the spelling of a word.

All types of punctuation can be used to reflect the emphatic intonation of the speaker. Emphatic punctuation is used in many syntactical SD – aposiopesis, rhetorical question, suspense, and may be not connected with any other SD: ‘And there, drinking at the bar was – Finney!’ (R.Chandler)

The changed type (italics, bold type, etc.) or spelling (multiplication –‘laaarge’, ‘rrruin’, hyphenation – ‘des–pise’, ‘g–rl’, etc.) are used to indicate the additional stress on the emphasized word or part of the word.

There is no correlation between the type of graphical means and the type of intonation they reflect, for their choice is too inadequate for the variety and quality of emotions inherent in intonation.

Phonetic expressive means – alliteration, onomatopoeia and others deal with the sounds instrumenting of the utterance and are mainly found in poetry.

Alliteration (repetition of the same consonant or sound group at the beginning of two or more words that are close to each other): …he swallowed the hint with a gulp and a gasp and a grin. (R.Kipling)

Onomatopoeia (the formation of a word by imitating the natural sound; the use of words whose sounds reinforce their meaning or tone, esp. in poetry): The Italian trio… tut–tutted their tongues at me. (T.Capote)

Graphical fixation of phonetic peculiarities of pronunciation with the ensuing violation of the accepted spelling – graphon – is characteristic of prose only and is used to indicate blurred, incoherent or careless pronunciation, caused by temporary (tender age, intoxication, ignorance of the discussed theme, etc.) or by permanent factors (social, territorial, educational, etc. status).

Exercises:

1. He misses our father very much. He was s–l–a–i–n in North Africa. (Salinger)

2. You lean, long, lanky lath of a lousey bastard… (O’Casey)

3. Cecil was immediately shushed. (H.Lee)

4. My daddy’s coming on a nairplane. (Salinger)

5. Now pour us another cuppa. (A. Wesker)

6. “You’ll probly be sick as a dog tomorra, Tills.” (Jones)

7. She mimicked a lisp. “I don’t weally know wevver I’m a good girl.” (J.Braine)

8. You’re French Canadian aintcha? I bet all the girls go for you, I bet you’re gonna be a great success. (J.Kerouac)

9. Streaked by a quarter moon, the Mediterranean shushed gently into the beach. (I.Shaw)

10.”Now listen, Ed, stop that, now! I’m desperate. I am desperate, Ed, do you hear? Can’t you see?” (Dreiser)