Diploma_1

Chapter 1.LITERARY TALE AS AN OBJECT OF LINGUISTIC RESEARCH.

1.1. The definition of a fairy tale

In order to determine the characteristics of the genre of literary tales it is necessary to figure out how it differs from the folk tale, which is considered the ancestor of it. As a genre of literary fairy tale has as similar to a folk tale features and distinctive from its predecessor folklore characteristic of only it.

Before we proceed to the determination of similarities and differences between the folk and literary tale, it is necessary to trace the history of the genre. First, we define what a tale as a genre is. We will try to define what is meant by the term "tale".

In the scientific literature, the tale is determined mostly as a kind of folk prose, found among different peoples and is divided, in turn, into genres. Analysis of existing definitions shows that they, along with fictional events underscore the oral nature of the tale as fiction. For example, the domestic literary online encyclopedia treats the concept of fairy tales as follows: "The Tale (it. Märchen, Eng. Tale, French. Conte, Italian. Fiaba, Serb. And Horw. Pripovijetka, Bulg. приказка, Czech. Pohadka, Pol. bajka, Belor. andukr. казка, байка, in Russian to the XVII century. баснь, байка )–is a story, performing at the early stages of development in pre-class society of production and religious functions, that is, representing one type of myth; in the later stages occurred as a genre of oral literature, having a content unusual in the everyday sense of the event (a fantastic, wonderful, or everyday) and featuring a special compositional and stylistic construction. In the dynamics of social forms and social consciousness changes and the term "fairy tale." It is worth noting that if you follow this logic, all copyright tales here do not fall. One of the definitions adopted in Europe belongs to the genre of fairy J. Bolte and Polivka G. (Bolte, Polivka, 1913-1932). According to him, the tale is a story based on the poetic imagination, especially the magical world that this story is not related to the conditions of real life, which in all walks of life listen with pleasure, even if they find it incredible or unreliable. In this view, formulated three features: poetry, fiction, entertainment. But it does not take into account, for example, the social significance of the tale as a cultural element, educational and psychological potential. ¹

Another V.G. Belinsky at the time focused on the sign of a fictional: a storyteller, he said, "not only chasing credibility and naturalness, but also as if delivered himself of an indispensable duty to intentionally disrupt and distort them to absurdity" (Belinsky, 1954). K.S.Aksakov wrote fiction that affects the content of fairy tales, and the image scene in them, and the characters of the actors, and thus the most characteristic - focus on conscious fiction. A.N.Afanasiev, in contrast, argued that the tale - not an empty fold, it does not deliberately composed of lies, deliberate evasion of the real world.

Academician Yu.Sokolov said that under the folk tales in the broadest sense of the word refers to an oral-poetic narrative fiction, adventure-novelistic and domestic nature. However, he points out: "No matter how typical for her fairy tale characters and objects are alive and quickening media fabulous action, yet the most important and characteristic of the fairy tale as a genre is the action itself. For a wonderful tale of these actions define a magical-adventure tale character wonderful as a special narrative genre "(Sokolov, 1941).

Another great explorer, A.I.Nikiforov suggested the following definition: "Tales - is oral histories, prevailing among the people for the purpose of entertainment, with unusual content in the everyday sense of the event (fantastic, wonderful, or everyday) and different special compositional and stylistic construction" (Nikiforov, 1930) . With that, here also displayed beyond the genre of literary heritage of fairy tales, classifying signs actually similar to the positions of other scholars: fiction and entertainment purposes only. However, the nature of fiction specified.

Furthermore, it seems fruitful addition "special compositional and stylistic construct", but it is not decrypted. Fun and entertaining considered hallmarks of well-known fairy tales and folklore brothers Sokolov: "The term we use here the tale in the broadest sense - to them we mean any oral story, told audiences in order entertaining" (B. Sokolov, Sokolov Yu). V.P.Anikin, agreeing with the thesis of fiction as a characteristic of fairy tales, stresses that this is not its main feature and adds to the criterion of aesthetic pleasure "special, carried out with the help of the disclosure of the real-life" (Anikin, 1977).

The opinion of T.G.Leonova is reflected in the following statement: "A tale is an epic, mostly prose work with the installation of fiction, a work of a fantastic story, shareware fantastic imagery, plot-resistant composite structure and listener-oriented form of narration" (Leonov, 1982). In this determination, first, "not fit" many types of stories, because no means are epic (e.g. domestic or novelistic). Secondly, in a number of tales the story can not be defined as fantastic as it is rare, exclusive, funny stories (stories about thieves, fools, judges, etc.). Third, plot-compositional stability varies in different types of stories. Finally, a listener-oriented narrative form is not unique to the tales, but also songs, epics, etc.

The lack of consensus among researchers suggests the desirability to continue to explore the concept of fairy tales to develop a more specific definition, which characterizes its essence. To do this, first of all, to consider genre features. Since a single scientific classification is still there, genres or groups of tales researchers identify differently. ²

What is a tale? At first glance it may seem that this question is completely idle, everyone knows it. Such views were expressed even in science. Finnish scientist X. Honti writes: "A unilateral determination of the well-known concepts is strictly speaking, superfluous, everyone knows what a fairy tale, and may instinctively distinguish it from the so-called related genres - folk tales, legends and anecdotes».³Without the definition and nature of fairy tales, some authors treated the general guidelines on capital folklore. It may be noted that Veselovsky, whose works make up a tale about how, never gave his definition of a fairy tale. This does not mean that these scientists was not his understanding of fairy tales. It they had, but not recorded in any precise definition. Nevertheless, we can not rely on instinct, as suggested by Honti, we need to express their views as accurately as possible. Unable to recognize tales everything that is placed in the collection of fairy tales. On the fabulous diversity of the material and the fact that "the notion of a fairy tale has now become very extensive," pointed out by Pypin in his review of the collection Afanasyev.

The peoples of the world, more precisely, the European nations, as a rule, does not refer to this type of folk poetry, using it to determine the variety of words. There are only two European languages, which have created a special word for this concept. There are the Russian and the German.

In the Russian, the word "tale" is relatively late. In the modern sense, it does not appear before the XVII century. Ancient and medieval Rus’ did not know him. But this does not mean that there were no tales. This means that the tale originally stood for some other word. We can assume that this word is the "Fables", which corresponds to the verb "bayat" and the noun "Bahar". For example, Kirill of Turov, the preacher of the XII century, listing ordeal in the next world for the sins man in the fifteenth ordeal mentions those sinners who "believe in the meeting, in sneeze, climb in and bird Gry, enchantment, and a hedgehog fable bayut and harps gudut." In another word the XII century ("Златоструй") as described by the wealthy retreat to sleep "Взълежащюжеему и немогущюуснутидроузиемунозегладеть... инiигудуть, инiибають и кощюнять”.⁴ Such figures of speech as "full of fables something affects" or "old wives' fables, and likes to fool", given by V.I .Dahl in his "Dictionary", indicate that living in modern speech under another fable fairy tale can be understood. To 'tale' the word "баснь" is available in the Ukrainian and the Polish. So ancient Russia did not know the word "tale"; served as the corresponding word "fable".

The word "tale" originally had an entirely different meaning than with present notion. It means that we say or write the word, a valid document. For example, in the writings of A. Bolotov read: "They (peasants), being satisfied, filed at the same time generally with me sweetheart tale." ⁵In an oral daily use "select tale" once corresponded to our "take readings." In "Dead Souls" by Nikolai Gogol "Revision lists" it called by the established audit documented lists of peasants belonging to the landlord. But the "fairy tale" could mean both. In Turgenev in his story "Burmistr" says: "delimited, sir, all thy mercy. The day before yesterday signed a fairy tale."⁶ 

The root of the term, -каз- with different prefixes acquires a different meaning, but the basic meaning of the root- some form of communication: to say, to indicate to punish and so. D. The Serbian "казати" - 'speak' Czech 'казати' - 'show '. 

So, until the XVII century in the Russian language the word "tale" meant something significant, written or oral testimony or evidence, legally binding. In the XVII century, as seen another, though contrary to the above meaning of the word "tale". The decree of Tsar Alexei Mikhailovich in 1649 states: "Many chelovetsy unreasonable believe in a dream, and in the meeting, and climb, and bird Gry, and guessing riddles, and fairy tale affects fiction."⁷ 

It is remarkable that the word "fairy tale" is in the same context as that of Cyril of Turov "Fables" (bird Gry, climb, etc.), Clearly demonstrating that the word "fable" with "fairy tale." Here the word "fairy tale" refers to the very fact that we understand it now.

What conclusions can be drawn from the above? You can display two signs tale attached to this word:

1) it recognizes the tale narrative genres (баять- 'They say talk');

2) it is considered to be a fairy tale fiction. (The decree Alexei Mikhailovich - "fairy tale fiction.") In the Ukrainian language, along with the word "байка" has the word "казка." Both represent not only the story, but a fiction, unworthy of trust.

How could it happen that the word got an opposite sense, it is difficult to say. Apparently, those "fairy tale", those readings that were taken during proceedings or transactions, and so on. E., Were usually so unreliable, so full of lies, that the word "fairy tale", originally meant 'authentic instrument', was synonymous with lies, fabrications, something completely unreliable.

As we have said, only in the Russian and the German languages it develops specific terms for fairy tales. In the German, the word denoted tale Märchen. Mär root means 'news', 'news', -chen - diminutive suffix. Märchen - 'a little interesting story' (a word common to the XIII century and gradually consolidated in the sense of 'fairy tale'). ⁸

The ancient Greeks identified the tale word 'myth'. There is no special word for fairy tales.

The Latin word "tale" is transmitted through the fabula. But the word is also not specific to a fairy tale, it has many different meanings: conversation, gossip, subject, and so on. D. (Wed. our "story" - 'story, the subject of the narrative'), as well as the story, including tales and fables. To 'fable' it passed in the German language. In the German Fabel is 'басня', and the verb fabulieren is ''рассказывать с привиранием''.

We will not dwell on how the concept of "fairy tale" is expressed in a variety of languages. This is done with great skill by Volte. It dwells only in three languages: the Italian, the French and the English. In the Italian “tale” indicated by the words fiaba, favola, which obviously comes from the Latin fabula, or words conto, racconto and others. -cont- is root itself means 'Account' (Wed. our -chit - "read"). In the French, the word more often used conte, which means 'story', raconter - 'tell'. For added accuracy contepopulaire ('folk tale'), conte de fées ('a story about fairies', which, in fact, is only suitable for fairy tales), or récit, or légende. The same is in English.

The tale called short tale, which means' the story at all, any story. "So, Dickens called his novel “A Tale of Two Cities” - "The Tale of Two Cities".?? Modeled on the the French say: fairy-tale 'Fein tale'. Specifically designated by the word fairy tales nursery-tale (nurse - 'nanny'). Also used the word story, legend. ⁹

1.2. Features of literary tale

At present, the attention of many researchers attracts the least studied genre "literary tale." These works include the tales of Lewis Carroll, GH Andersen, Charles Perrault, P. Travers, AN Tolstoy, A.M. Volkov and many other authors.

The term "literary tale" reminds us of the Latin «littera» -bukva letter. As you know, the word "fairy tale" is derived from the Russian word "affects", "talk", which recalls the origins of the folk genre, its "orality". This duality (written fixation of oral tales) is very complex study of the genre and makes the urgency of the problem. ¹⁰

According to many researchers (M.N.Lipovetsky, T.G.Leonova, M.M.Meshcheriakova, V.A.Begak), literary (or author) tale completely unique types of education. Drawing on ancient archetypes, author tale focuses not only on the genres of folk tale, but also on the assimilation of elements prior cultural tradition (literary tales predecessors and "classics" of the genre - Hans Christian Andersen, A.S. Pushkin and others.). It also used the ideological principles and plot-compositional model of the story, a philosophical novel, Utopia, parables, fables and other literary genres. According to M.N.Lipovetsky, "the whole artistic worlds of literary fairy tales are always formed by the interaction of magical fairy-tale genre-memory models of the world, characteristic of the" new "genre".

The special role in the formation of literary fairy tale magic played folk tale. By definition, the L.V.Ovchinnikov, literary fairy tale is multi-genre type of literature, implemented in an infinite variety of works of different authors. Each genre has its own type of literary fairy tale dominant (harmonious world-making, adventure, educational aspect).¹¹

In literature, as in folklore, fairy tales differ by category (animal tales, magic, household), for pathos (heroic, lyrical, humorous, satirical, philosophical, psychological), in proximity to other literary genres (novels, tales, tales, fairy tales, parables, plays, fairy tale parody, sci-fi stories, tales of the absurd).

The literary tale is far from folklore source. Genuine literary fairy tale is a completely independent product with a unique artistic world, original aesthetic concept. This work, which is not only in the scene (composite) against no repeats folk tale, but even draws shaped material from literature or other sources of folklore".¹² Tracing the history of the literary fairy tale, as a rule, note that folk tale is part of the literary novel of ancient Russia, and in Europe comes alive in the genre of medieval courtly romance. XVIII century acquaints the reader with the author's retellings of fairy tales and folk treatments. Actually literary fairy tale in its infancy, and then reaches maturity as a genre in the XIX century (in Europe - in the works of Charles Perrault, G.X. Andersen, E.T.A. Hoffmann, W. Hauff, in Russia - in the works of Zhukovsky, Leskov, P.S., P.P.Ershov, Alexander Pushkin, A. Pogorelsky, Saltykov-Shchedrin, Leo Tolstoy). Literary fairy tale becomes a favorite genre writers of the Silver Age. Among the authors of literary fairy tale – A.N. Thick, P.P.Bazhov, A.P.Platonov, K.G.Paustovsky, E.L. Schwartz, S.V.Mikhalkov, V.V. Bianchi, N. Nosov, K. Bulychev, EN Assumption. From foreign tales in Russia, the most famous fairy tales O. Wilde, George. Rodary, A. Lindgren.

There are common roots in the literary and the folk tales. The Folk tale originally existed in the space of magic (cf .: "In the kingdom of Far Far Away - tridesyatom state", "the sea-okiyane, on the island of Buyan" ...). For the same literary tales that space, for example, over time modified and traditional space disappeared. ¹³

The Literary fairy tale as a separate literary phenomenon stood out in the last century and "has long since become a full-fledged literary genre".¹⁴ It is under active development, but so far there is no clear understanding of the genre identity.

The situation with the interpretation of the concept of "literary fairy tale" can be summarized as follows: tales are different, "but in science ... has not yet created a unified classification".¹⁵ For a long time, many researchers are paying attention to this problem and try to solve it by various means. There are many definitions of literary fairy tale as a genre, they can be conditionally divided into two types. The first type of definitions is an enumeration of individual characteristics that are typically found in the literary fairy tale (see. Example 1), but in particular the works of these characteristics may be partially missing. This kind of definition is quite cumbersome and not applicable to all literary tales. The second type (example 2) - an attempt to generalized universal definition. But such a formulation that would satisfy all researchers unavailable.

Here are some examples:

1) the literary fairy tale - the author, art, or poetry, or based on folklore sources or invented by the writer, but in any case subordinate to his will. Mostly fantastic product that paints wonderful adventures of fictional or traditional fairy tale characters and in some cases to children; work in which magic, miracle plays the role of plot-factor helps to characterize the characters. ¹⁶

2) The literary fairy tale - the genre of literary works, in which magical fiction or allegorical developments and, as a rule, in the original stories and images in prose, poetry or drama to address moral and poetic or aesthetic problems.¹⁷

It has long been known that the literary fairy tale - a synthetic genre, absorbed as features of folklore and elements of literary genres. The thesis of "literary fairy tale folk apprehended in the aggregate, in all its varieties genre" [Bakhtin] there is no doubt. And "literature ... which today is increasingly replacing of folk life story, without it she can not"¹⁸ as "Tale itself an example of literature in the very principles of the organization and create a grotesque world, and took advantage of this literature, and created a whole network of grotesques, from some literary fairy tales and finishing works of a realistic plan, which cleverly played up the idea of creating a special world of fantasy and reality in its real in the incredible twists of fiction".¹⁹

The Literary fairy tale always a fairy tale of his time, and even in one and the same author's direction and structure of the tale can vary significantly, in contrast to the strict form of folk tales.

The Literary fairy tale differs from folk tales and poetics. If folk tale is characterized by stable poetic devices, traditional formulas that contribute to more easily memorize it, then in the literary fairy tale selection and use of these techniques are free, as are wholly dependent on the author. In addition, the folk tale inherent clear plot elements; there are intonation, complication, climax, denouement, ending, and in the literary fairy tale border between the elements of the story are blurred. Another distinctive feature is the amount of folk tale mostly short (because of its interpretation of existence), while the literary fairy tale can be quite long.

The Literary tales, unlike folk, by its very nature is a genre of individual rather than collective creativity. The Ordinary uniformity folk tale confronts individual diversity tales writers. At the heart of the literary fairy tale is a very special author 'perception of the world ", the ability to not only and not so much to stylize fabulous tricks, and express membership in the moral and philosophical principles that are based on the harmony of sensual and aesthetic constitute the essence of folk art in general. Often, in the author's autobiographical tales found evidence of their creator. For example, Lewis Carroll characters as their stories chose his friends: the teacher of one of the colleges of Oxford University's Robinson Duckworth and his daughter Edith and Lauren; A.A. Milne used the facts of his life, namely, some episodes of his communication with his son. Any tale, of course, reflects the moral norms, social and political issues and preferences of the time in which the author lives, as well as the originality of his creative personality. ²⁰Problems themselves that decide heroes rather the moral, rather than adventurous and adventure.²¹

Folk tale does not know the category "image of the author" (referring to the narrator, storyteller). It is the author's position is clearly expressed in the literary fairy tale, allows the identification of borrowing from the ideological and aesthetic system of folk tales. This takes into account a particular focus on the listener and his perception of the effect of genre expectations related to the miracle and its motivations.

Fairy tale must end well, and knowing the unwritten law, the reader is rarely seriously worried about the fate of the characters. The English tale and retreats from this rule. A world in which there are heroes, real, and therefore are real and the dangers that await them here. English fairy tale does not spare the reader, does not diminish the risk and lulls him with the thought that all this is nothing more than fiction, which certainly well over. The writer puts his hero in difficult circumstances and provides it to find a way out.²²

The Most of the authors and do not try to tell us they have created the world. Moreover, they are not specifically agreed, do not tell us everything, and we can only guess that it was still in the magic book Koriakina that Lucy was looking through, and what legends are not told Mowgli old Hathi, and where the king cobra knows Mary Poppins, and the stars whether made of silver paper or silver paper - from the stars? "History never truly not stop there. Just some place to tell them to stop" (14).

In summary, we can highlight the distinctive features of literary tale:

1. Genesis. Literary fairy tale created by a single author.

2. The form of narrative. Literary fairy tale exists only in writing, in a strictly fixed version.

3. According to the content. Literary fairy tale has a great diversity of subjects, pointing to its relationship with reality.

4. Composition. Literary tale created by less strict rules of construction.

5. In terms of volume. Literary tale can be as short on volume, and quite long (cf .: Lewis Carroll tale, X. lofting)

6. Language. In the literary fairy tale more complex syntax and rarely used traditional fabulous formula, it is richer vocabulary and meet individual trails.

Thus, in general, it is possible to allocate the following genre features the author's tale: the reliance on folk traditions, the presence of the start of the game, the presence of the "image of the author", a combination of real and fantastic.²³

Now consider the genre of literary fairy tale in comparison with another fantastic genre - science fiction. These genres have a common origin, "and literary fairy tale, and her cousin - science fiction - in spite of the proximity to the poetics of folk tales are still literary genres. Elements of folk and fairy poetics they create genre definition, form what could be called the "core" of the genre ".²⁴The logical explanation is building a fantastic foundation for a fabulous reality, compensating for "unbelief" of modern man, which is not required in the case of a fairy tale, because "Fairy tale does not focus on the image and explanation state of the world and its changes as a result of an action hero, and to show the state of the hero and the changes in this state as a result of success in overcoming their troubles, misfortunes, obstacles". ²⁵

Unlike literary fairy tale of science fiction is obvious: it does not attempt to predict the future on a scientific basis, to predict the development of science and technology, or hypothetically explain the events and processes that took place in the distant past. In general, it is not associated with social or scientific theories of social development.

Following comparison with similar literary fairy tale fiction genre (fairy tale, science fiction), you can display its definition. Literary fairy tale - a genre of science fiction author of a literary work, rooted in the folk tale, it borrows from the concept of "fabulous reality" as anannualrated factor not wearing a scientific nature.

CHAPTER 2 «RESEARCH LINGUISTIC FEATURES TALES»

2.1 The Composite features tales.

We have read a literally fairy tale under the title "Prince Rabbit" by one of the most famous English authors Alan Alexander Milne. The most known book of his was "Teddy bear Winnie-the-Pooh. Christopher Robin Milne's stuffed bear, originally named "Edward",[23] was renamed "Winnie-the-Pooh" after a Canadian black bear named Winnie (after Winnipeg), which was used as a military mascot in World War I, and left to London Zoo during the war. "The pooh" comes from a swan called "Pooh". E. H. Shepard illustrated the original Pooh books, using his own son's teddy, Growler ("a magnificent bear"), as the model. The rest of Christopher Robin Milne's toys, Piglet, Eeyore, Kanga, Roo and Tigger, were incorporated into A. A. Milne's stories,two more characters - Rabbit and Owl - were created by Milne's imagination. Christopher Robin Milne's own toys are now under glass in New York where 750,000 people visit them every year. His book The World of Pooh won the Lewis Carroll Shelf Award in 1958.

The story “Prince Rabbit” is narrated by the author in order to reveal different actions and plot lines simultaneously. Thus, the reader can dive into a wonderful and marvelous fairy tale like in his or her childhood. Moreover, the tone of the story is so emotional, ironical, humorous and partly sarcastic, that even an adult person will laugh at funny situations in the text. For example, when the Chancellor introduced the Rabbit to the King as a competitor for King’s successor, the King only laughed and said: “We can always have a race for a new Chancellor afterwards”.

In spite of the fact, that the genre of the writing is the fairy tale, the story is written in a philosophical, even psychological way. For example: “After all, said the King to the Queen that night, intelligence is a quality not without value to a ruler”.

The action took place in the Pavilion in the Palace of the King mainly, and partly at the place where the enchanter lived. All the adventures lasted about a month.

This is a story about the rabbit, who wanted to become a King’s successor and succeeded in it.

Milne began his story with the description of the situation in the Kingdom. The King and the Queen could not have children, so there were not any successors in that Kingdom. One day the King and his Chancellor decided to make competition between young and noble men to choose the next King. There were many competitors and among them there was one rabbit. Despite the fact, that the Rabbit followed all the rules, the King and the Chancellor tried to avoid the Rabbit’s victory. Finally, the Rabbit succeeded and became the King due to his cleverness and one enchanter, who made him a man. It occurred, that the Rabbit was a prince many years ago, but the wizard enchanted him.

The text is divided into some parts logically connected. The exposition of the story represents the discussing between the King and his Chancellor the forthcoming competition. “There must be not one test, but many tests. Let all, who will offer themselves, provided only that they are under the age of twenty and are well-born”.

The rising action of the story starts, when the Chancellor found that there was a rabbit among the competitors and, moreover, he was under all the condition to take part in the contest. “The Chancellor, feeling rather hot suddenly, read the rules. The Rabbit was certainly under twenty; he had a pedigree which showed that he was of the highest birth”. And it finishes, when the King asks two last competitors: Lord Calomel, who was enchanted into the rabbit too, and the Rabbit to stand on their two legs only.

The climax of the story is the moment, when the Rabbit stood on his back paws and the enchanter appeared at the Pavilion. He revealed the King, that the Rabbit was “the son of the late King Nicodemus, Prince Silvio”, and that the wizard himself enchanted the baby many years ago, but the Rabbit escaped. The enchanter corrected his mistake and returned the Rabbit into the man.

The denouement terminates with the announcement of the King that the Rabbit won the competition and became the next King. “Then, my dear Prince Silvio, as the winner of this most interesting series of contests, you are appointed successor to our throne”.

Alan Alexander Milne uses many stylistic devices to show us human’s craftiness of this fairy tale. In order to show the growing tension, the author makes use a few devices to keep the rhythm.

First is onomatoepia. It is is a word that phonetically imitates, resembles or suggests the source of the sound that it describes. Onomatopoeia (as an uncountable noun) refers to the property of such words. Common occurrences of onomatopoeias include animal noises such as "oink", "miaow" (or "meow"), "roar" or "chirp". Onomatopoeias are not the same across all languages; they conform to some extent to the broader linguistic system they are part of; hence the sound of a clock may be tick tock in English, dī dā in Mandarin, or katchin katchin in Japanese.

Although in the English language the term onomatopoeia means the imitation of a sound, in the Greek language the compound word onomatopoeia (ονοματοποιία) means "making or creating names". For words that imitate sounds the term Ηχομιμητικό (echomimetico or echomimetic) is used. Ηχομιμητικό (echomimetico) from Ηχώ meaning "echo or sound" and μιμητικό meaning "mimetic or imitation".

Example from the text is :

“what suggestion have you to make in this matter”

Second is anaphora. It is is a rhetorical device that consists of repeating a sequence of words at the beginnings of neighboring clauses, thereby lending them emphasis. In contrast, an epistrophe (or epiphora) is repeating words at the clauses' ends. The combination of anaphora and epistrophe results in symploce.

One author well known for his use of anaphora is Charles Dickens (seen in quotation below). Some of his best-known works constantly portray their themes through use of this literary tool.

Example from the text is :

“And when it was seen that the young Lord rose from the ground… And Rabbit, dropping his sword for a moment cheered too… And there he lay”. To reflect the craftiness of the King the author uses, firstly, irony “I have long felt that a progressive country such as ours might well strike out a new line in the matter. Let us agree that in future seven sixes are ‘fifty-four’”, said the Rabbit to the King. Secondly, sarcasm “We can always have a race for a new Chancellor afterwards”.

Thus, the author reflected a cruel and cunning attitude of the King to the Rabbit. Also he underlines the whole humour of the story via the hyperbole “Rabbit bowed gracefully, Rabbit galloped back to his home, etc”.

The Rabbit is the protagonist. The Protagonist is main character is a narrative's central or primary personal figure, who comes into conflict with an opposing major character or force (called the antagonist). The audience is intended to mostly identify with the protagonist. In the theatre of Ancient Greece, three actors played every main dramatic role in a tragedy; the protagonist played the leading role while the other roles were played by the deuteragonist and the tritagonist.

The Rabbit wants to become the King’s successor, to win the competition, moreover, he is very ambitious. The King is a quite typical antagonist. He does everything to prevent the Rabbit from winning the competition. He gives him unreal tasks to do, but the Rabbit succeeds in every of them.

The author uses indirect methods of characterization through people’s actions, their words and the manner of speaking.

The key problem of the story is not to pretend to be noble, intelligent and fair. Do not pretend to give people the opportunities they do not have, if you do not want to do it or you cannot do it, You should just try to be open-minded, kind and tolerant. Try to put yourself into someone’s place.

2.2 The Stylistic devices of a tale.

The text belongs to Belles-lettres style, namely emotive prose.

Belles-lettres style of all the functional styles of language, the most difficult to define is the belles-lettres style. Franz Kafka defines this style as “organised violence done on ordinary speech”. Literary works create their own world. Each is a unique entity. Just as a painter uses paint to create a new image, a writer uses words to create a text. An important thing to recognise about literary works is just how carefully and consciously they are crafted. Words are the raw material of literature and literary writers stretch them to their limits.

Within the text the reader is to find the realization of two functions. The function aims at giving the reader a feeling of pleasure. The second one provides the reader with the information necessary for that.

The functions predetermine not only the author’s selection of vocabulary and syntax, but also the composition of the text. According to its contents the text can be divided into three parts:

1. The introduction of the situation.

2. The attempts of the Rabbit to win the competition.

3. The denouement of the story. The Rabbit became the King.

Though the text cannot be called rich in different text forms, it nevertheless has quite a complicated structure. The dialogues seem to prevail, however the author begins his story with the narrative: “Once upon a time there was a King who had no children…”

There are also several short narrative in the body of the text. Beside the narrative there is a great number of dialogues between the King and the Rabbit, the Chancellor and the King etc.

For example:

1. “Yes, Your Majesty “

“Then I don't think much of it.”

“Thank you. Your Majesty.”

“What you are trying to say is. "Who will be the next King'.’" Quite so. Your Majesty.”

“'Alt'.’ The King was silent for a little Then lie said. I can tell you who won’t be “

2. 'Ah!' What sort of fighting'’

'W'ith swords.' said the King '* '•

'I am a little lusty with swords, but I daresay in a day or two-’’

'It will be now.' said the King.

'You mean. Your Majesty, as soon as Lord Calomel has re-covered his breath?'

3. 'Let someone take a note of that answer,’ said the King; where¬upon the Chief Secretary wrote down: 'Lord Calomel— "dormouse "'

'Now,' said the King to Rabbit, 'what suggestion have you to make in this matter?'

One of the most possible ways of dividing the Expressive Means and Stylistic Devices, in which the text is rich, is to distinguish the Stylistic devices used for portraying different personages and the situation itself.

Introduction in the form of narrative and a dialogue between the King and the Chancellor represents a stylistic device such an anaphora: “If only we had a son! If only we had! If only we had a daughter!”

These sentences reveal the reader the whole despair of the King and the Queen of having no children. In order to show the authority of the King the author uses break-in-the-narrative: “In the event of Your Majesty’s death…” Chancellor coughed and began again. Moreover, everyone in the story call the King “Your Majesty”.

The attitude of the King to the Rabbit is shown through next stylistic devices. Break-in-the-narrative: “I am a little rusty with swords, but I daresay in a day or two…” and here the King interrupts him: “It will be now”. This sentence emphasis the fury and intolerance of the King to the Rabbit. To reflect the craftiness of the King the author uses, firstly, irony “I have long felt that a progressive country such as ours might well strike out a new line in the matter. Let us agree that in future seven sixes are ‘fifty-four’”, said the Rabbit to the King. Secondly, sarcasm “We can always have a race for a new Chancellor afterwards”.

And, what about the Rabbit? He is also crafty and sometimes foxy. The author reveals all these qualities through the next stylistic devices. Anaphora and polysyndeton at the same time “And when it was seen that the young Lord rose from the ground… And Rabbit, dropping his sword for a moment cheered too… And there he lay”. Through the number of hyperbole Milne attempt to show how the Rabbit tries to look intelligent, noble and graceful: “Rabbit trotted to the Royal Pavilion, and dropped his sword in the Chancellor’s lap”; but when the Rabbit is not at the King’s place he behaved less intelligent: “Rabbit galloped back to his home in the wood, pondering deeply”.

To reflect the Rabbit’s disregard to Lord Calomel. The author uses inversion and irony: “I have a great respect of the young Lord Calomel, but I think that in this matter he is mistaken”. “In that case the answer, as Lord Calomel has pointed out, is fifty-four”.

Although there are little direct description of the personages, the author uses indirect methods of characterization through people’s actions, their words and the manner of speaking.

The title of the text is very symbolic and contains the idea in a compressed way. “Prince Rabbit” is the conclusion of the story, the title reveals the denouement of the story, because at the beginning nobody knows if the Rabbit would become the King.

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