МО.ТОБИС / Стил Задорнова

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U М З А Д О Р Н О В А

Стилистика

английского кзыка

НАУЧНОМЕТОДИЧЕСКИЙ КАБИНЕТ

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Издательсгво	1986

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I. THE METALANGUAGE OF UHGUOSTYLISTICS

II

In the European philological tradition there have always existed phenomena regarded as linguostylistic concepts proper.

They ares	t r o p e s	which are based on the 'transfer' of
meaning, when a word (or a combination				of words) is used to
denote an object which is not normally				correlated with this
word, and	f i g u r e s	o f	s p e e c h whose stylistic

effect is achieved due to the unusual arrangement of linguistic units, unusual construction or extension of utterance.

There is a considerable number of terms which can serve to denote different tropes and figures of speech. Most of these terms go back to ancient rhetoric where all the stylistic devices were thoroughly investigated and provided with names and definitions. In the course of time some terms used in Greek and Roman philology have disappeared whereas new ones were introduced. The meanings of some terms have changed. Thus, the greek "metaphora" was used by Aristotle in a very broad sense, close to the modem tneaning of the term "trope", that is, it embraced metonymy, synechdoche, hyperbole and simile.

Theoretically speaking, the division into tropes and figures, which can be traced back to classical philology, is characteristic not only of Russian but also of English and American philological traditions. A Russian anglicist, however, is bound to be faced with certain metalinguistic difficulties. The fact is that the English term "figure of speech" is often indiscriminately used to denote any stylistic device, including metaphor (this is how "metaphor" Is defined, for instance, In one of the dictionaries of literary terms published in the U.S.A.: "a metaphor is a figure of speech in which one object is

likened to another by speaking of it as if it were that other" - Standard College Dictionary. N.-Y., 1963). The tew» "trope", which was widely employed in the XVIII century in almost the same meaning as the Russian "mpon", has practleally fallen out of use.

Nevertheless we are oonvinced that the distinction between tropes and figures is not only a question of metalanguage. It concerns the ontology of linguostylistic phenomena, their

essential features. We regard tropes and figures of speech as basic linguostylistic categories whose study should be based on their numerous realizationsin speech.

In what follows all tropes and figures of speech are presented in the alphabetical order and supplied by definitions and illustrations.

ALLITERATION - a figure of speech which consists in the repetition of the same (esp. initial) sound in words in close succession (usually in the stressed syllables):

1)	The fair breeze blew, the white foam flew,
	The furrow followed free;
	We were the first that ever burst
	Into that silent sea.	(S.J.Coleridge)
2)	A university should be a place of light, of liberty,
and of learning.		(Disraeli)

АЙADIPLOSIS (or epanalepsis) - a figure of speech which consists in the repetition of the same word (or w.ord-combinat- ion) at the end of one and at the beginning of the following sense - groups:

1)Prom thte river came the warriors,

Clean and washed from all their war - paint; On the banks their clubs they buried. Buried all their warlike weapons.

(Longfellow)

2) ... those two young people, ... what they were doing down there in the copse - in the copse where the Spring was running riot with the scent of sap and bursting buds...

(Galsworthy) I

ANAPHORA - a figure of beginning successive sentences, ayntagms, lines, etc. with the same sounds, morphemes, words or word-combinations:

, 1) You, sir, are an unnatural. ungri teful, unloveable. boyJ

Dickens)

2)Oh ay children! ay poor children! Listen to th* word» of wlsdoa, Maten ta th* wordi of warning, fro» til* lip* of th* Oreat Spirit,

Угон th* Maater of Ufa i who Mil you I I buy* given you land* to hunt la,

I hay* tlwa ш atr*aaa to fiah la, I hay* iltm vau bear tad bison,

I № 1 fil™P >94 «ad r*lad**r, I hat* given you braat aad beaver,

Ш Н 4 th* aarahea full of wild-fowl, filled th* river* full of fiaheas

thy then ar* you aot ooat*at*d? thy then will you huat *aeh other?

(Longfellow)

AHASSROiHS - a figure of apeeoh, th* atyiiatio effect of which ia achieved by th* deliberate violation of auch normal syntactic order as object after verb or prepoaitlon before noun. (of.

i № i ! № ) i

1) Reeiona Ceaaar never knew	(Cowper)$
2) If you Ъеоове a aua, ny dear,
A friar I will be	(Leigh Hunt);

3)So war or battle aound Vaa heard the world around

AX9Z0IZMAZ - 1. a figure of apeech which oonslata in an arriogement of parta tit an utteranoe baaed on gradual decrease ia semantic aignifioance or emotional tenaion.

II. a figure of apeeoh whioh la aimed at destroying the effect achieved by СЫНАХ»

1 ) X feasted like akln^, like four kings, like a boy in the fourth form ' {Ringlake),

, 2 ) 1 wrote whatever the olty whiapered, or roared. or ohttokle^L to me on ny diligent wanderings about its streets (O'Henxy).

А Ш Й Й Ш Ш - 1* цее № Ш Ш М .

II» tee «ШЮХОЗВШ»

&

ANTITHESIS (a variant of Syntactic Parallelism) - a figure of speech based on parallel constructions with contrasted words (usually antonyms):

1) Yet each man kills the thing he loves, By each let this be heard,

Some do it with a bitter look, Soae with a flattering word, The coward does it with a kiss, The brave nan with a swordJ

(O.Wilde)

2) God made the country, and man made the town (Cowper).

ANTONOMASIA - I. (a variant of METAPHOR) a trope which consists in the use of a proper name to denote a different person who possesses some qualities of the primary owner of the name: Every Caesar has his Brutus (0'Henry).

II. (a variant of PERIPHRASIS-) - a figure of speech which names a famaliar person in an indirect way: the Maid of Orleans (for Jean of Arc); the Kerry Monarch (for Charles II); the sweet swan of Avon (for Shakespeare).

APOSIOPESIS - a figure of speech which consists in "breaking" the narrative for rhetorical effect:

A little month, or ere those sho£s were old With which she follow'd my poor father's body, Like Nlobe, all tears; - why she, even she, - Oh Godl a beast that wants discourse of reason Would have mourn'd longer.

(Shakespeare)

APOSTROPHE - a figure of speech which consists Is addressing - an absent, dead or invented person, as well as animalя and things:

Heard melodies are sweet, but those unheard

Are sweeter; therefore, ye soft pipes» вЗяг on. (Xteerita)

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ASSONANCE - a figure of speech based on the coincidence of vowels

.(or diphthongs) without regard to consonants, a kind of vowelrhyme: 1)iJ©w sad and bad and mad it was (R.Browning);

2) ... the rare and radiant maiden whom the angels name Lenore - /Nameless here for evermore (E.A.Poe).

BATHOS - a figure which consists in a ludicrous descent from the elevated to the trivial (or vulgar) in writing or speech

(cf. ANTICLIMAX ).

1) Not louder shrieks to pitying heaven are cast, When husbands, or when lapdogg. breathe their last.

(Pope)

CHIASMUS - a figure of speech based on the repetition of a syntactical pattern with a reverse word-order (sees SYNTACTIC PARALLELISM):

1)Let the long contention ceasei

Geese are swans, and swans are geese.

(M.Arnold)

2)Beauty is truth, truth beauty, - that is all Ye know on earth, and all ye need to know.

(Keats)

3) But many that are first shall be last: and the last

.shall be first (St. Matthew).

CLIMAX - a figure of speech based on such an arrangement of parts of an utterance which secures a gradual increase in semantic significance or emotional tension (cf. ANTICLIMAX(I): Some books are to be tasted, others to be swallowed, and some few to be ohewed and digested (Bacon).

ENANTIOSEMY (or ANTIPHRASIS(II) - (a variant of IRONY) a trope which is based on the use of an evaluative word (mainly adjective) in the opposite sense, accompanied by speoific suprasyntaotic prosody: 1) You've got us into a nice mess; 2) Oh, you little wicked boyI

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ЕРANADIPLOSIS - a figure by which a syntagm or a sentence begins and ends with the same word: Rejoice in the Lord always and again I say, Rejoice (Philippians).

EPANALEPSIS - see ANADIPLOSIS.

EPISTEOPHE - a figure which consists in the repetition of words at the end of each parallel segment of speech (an "antonym" of ANAPHORA):

Filled with awe was Hiawatha At the aspect of his father. On the air about him wildly

Tossed and streamed his cloudy tresses. Gleamed like drifting snow his tresses. Glared like Ishkoodah, the comet,

Like the star with fiery tresses. (Longfellow)

EPIZEUXIS - a figure which consists in the immediate repetition of a word for emphasis:

Alone, alone, all all alone, Alone on a wide, wide sea .

(Coleridge)

EUPHEMISM - I. a trope in which an unpleasant or offensive thing is described by an indirect, polite or conventional word: With my various friends we had visited most of these tiny, dark, smoky bars, and drunk drinks of minute size and colossal price and watched the female 'hostesses' at their age-old work (G.Durrell).

II. a figure of speech which consists in describing an unpleasant or offensive object or phenomenon in a polite round-about way (a variant of periphrasis): They think we

have come by this horse in some dishonest manner (Dickens).

HENDIADYS - a figure of speech in which one and the same notion is presented in two homogenious parts of the sentence: When a man has a message to deliver in literature, with a great effort

2-1399

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and toll he masters words until he can turn them into music (Shaw).

HOHEQTELEUTOH - a figure of speech which consists in the use of words with similar final components:

In a coign of the cliff between lowland and highland. At the sea-down's edge between windward and lee, Walled round with rocks as an inland island.

The ghost of a garden fronts the sea. (Swinburne)

HYPAHAGE (or TRANSFEREE® EPITHET) - a figure of speech which consists in attributing an adjective to a noun which, logically, it cannot modify:

1)How fades the glimm'ring landscape on the sight, And all the air a solemn stillness holds

Save where the beetle wheels his drony flight. And drowsy tinklings lull the distant folds.

(Thomas Gray) 2) After him, like the first breath of spring in the

Champs - Elysees, came Mrs. Beste-Chetwynde-two lizard-skin feet, silk legs, chinchilla body... (Evelyn Waugh).

HYPERBATGH - a figure of speech whose stylistic effect is achieved by deliberate violation of normal syntactic order, especially when the predicate of the sentence is misplaced (cf. AHASTROPHE):

The bride hath paced into the hall Red as a rose is she;

Sodding their heads before her goes The merry minstrelsy.

(Coleridge)

HYPERBOLE - a trope which consists in a deliberate exaggeration of a feature essential to an object or phenomenon (cf. MEIOSIS):

.Her family is one aunt about a thousand years old (Fitzgerald).

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