Stylistics 175

8/13/2019 Stylistics 175

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#. 2iterary stylistics: is to e$plicate the message to interprete and evaluate literary writings as the works of art.%. 5tylistics of decoding can be presented in the following way:

sender - message - receiver speaker - book - reader.

rocess of reading is decoding.The subject of stylistics can be outlined as the study of the nature, functions and structure of stylistic devices, on the one hand,

and, on the other, the study of each style of language as classified above, i, e, its aim, its structure, its characteristic features and the

effect it produces, as well as its interrelation with other styles of language. The task we set before ourselves is to make an attempt to

single out such, problems as are typically stylistic and cannot be treated in any other branch of linguistic science.

E$pressive 0eans +E0! and 5tylistic evices +5!/n linguistics there are different terms to denote those particular means by which a writer obtains his effect. E$pressive means,

stylistic means, stylistic devices and other terms are all used indiscriminately For our purposes it is necessary to make a distinctionbetween e$pressive means and stylistic devices. 1ll stylistic means of a language can be divided into e$pressive means, which are used

in some specific way, and special devices called stylistic devices. The e$pressive means of a language are those phonetic means,morphological forms, means of word-building, and le$ical, phraseological and syntactical forms, all of which function in the language

for emotional or logical intensification of the utterance. These intensifying forms of the language have been fi$ed in grammars anddictionaries. 5ome of them are normalied, and good dictionaries label them as intensifiers. /n most cases they have corresponding

neutral synonymous forms.The most powerful e$pressive means of any language are phonetic. 3itch, melody, stress, pausation, drawling, drawling out

certain syllables, whispering, a sing-song manner of speech and other ways of using the voice are more effective than any other means inintensifying the utterance emotionally or logically. 1mong the morphological e$pressive means the use of the 3resent indefinite instead

of the 3ast /ndefinite must be mentioned first. This has already been acknowledged as a special means and is named the ;istorical3resent. /n describing some past events the author uses the present tense, thus achieving a more vivid picturisation of what was going on.

The use of 4shall4 in the second and third person may also be regarded as an e$pressive means. +ie!, - let, e. g. dear, dearie, stream, streamlet, add some emotional colouring to the words.


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its markedly bookish character. /t is this that makes the layer more or less stable. The aspect of the collo6uial layer of words is its livelyspoken character. /t is this that makes it unstable, fleeting.

The aspect of the neutral layer is its universal character. That means it is unrestricted in its use. /t can be employed in all styles oflanguage and in all spheres of human activity. The literary layer of words consists of groups accepted as legitimate members of the

English vocabulary. They have no local or dialectal character. The collo6uial layer of words as 6ualified in most English or 1mericandictionaries is not infre6uently limited to a definite language community or confine to a special locality where it circulates. The literary

vocabulary consists of the following groups of words: ! common literary" #! terms and learned words" %! poetic words" &! archaicwords" '! barbarisms B foreign words" (! literary coinages including nonce words.

The collo6uial vocabulary falls into the following groups: ! common collo6uial words" #! slang" %! jargonisms" &! professionalwords" '! dialectal words" (! vulgar words" )! collo6uial coinages.

The common literary, neutral and common collo6uial words are grouped under the term standard English vocabulary.

honetic $&'ressi!e (eans and Stylistic )e!icesThe stylistic approach to the utterance is not confined to its structure and sense. There is another thing to be taken into account

which in a certain type of communication plays an important role. This is the way a word, a phrase or a sentence sounds. The sound of

most words taken separately will have little or no aesthetic value. /t is in combination with other words that a word may ac6uire adesired phonetic effect. The way a separate word sounds may produce a certain euphonic effect, but this is a matter of individual

perception and feeling and therefore subjective.The theory of sense - independence of separate sounds is based on a subjective interpretation of sound associations and has

nothing to do with objective scientific data. ;owever, the sound of a word, or more e$actly the way words sound in combination, cannotfail to contribute something to the general effect of the message, particularly when the sound effect has been deliberately worked out.

This can easily be recognied when analying alliterative word combinations or the rhymes in certain stanas or from more elaborate

analysis of sound arrangement.

*nomato'oeia7nomatopoeia is a combination of speech sounds which alms at imitating sounds produced in nature +wind, sea, thunder, etc.! by

things +machines or tools, etc.! by people +singing, laughter! and animals. Therefore the relation between onomatopoeia and the

phenomenon it is supposed to represent is one of metonymy There are two varieties of onomatopoeia: direct and indirect.)irect onomato'oeia is contained in words that imitate natural sounds, as ding-dong, burr, bang, cuckoo. These words have

different degrees of imitative 6uality. 5ome of them immediately bring to mind whatever it is that produces the sound. 7thers re6uire thee$ercise of a certain amount of imagination to decipher it. 7nomatopoetic words can be used in a transferred meaning, as for instance,

ding - dong, which represents the sound of bells rung continuously, may mean ! noisy, #! strenuously contested.+ndirect onomato'oeia demands some mention of what makes the sound, as rustling of curtains in the following line. 1nd the

silken, sad, uncertain rustling of each purple curtain. /ndirect onomatopoeia is a combination of sounds the aim of which is to make thesound of the utterance an echo of its sense. /t is sometimes called 4echo writing4. 1n e$ample is: 1nd the silken, sad, uncertain rustling

of each purple curtain4 +E. 1. 3oe!, where the repetition of the sound CsD actually produces the sound of the rustling of the curtain.

,lliteration1lliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies

in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words:

4 The possessive instinct never stands still +. 9alsworthy! or, 4eep into the darkness peering, long / stood there wondering, fearing,doubting, dreaming dreams no mortals ever dared to dream before4 +E. 1. 3oe!.

1lliteration, like most phonetic e$pressive means, does not bear any le$ical or other meaning unless we agree that a soundmeaning e$ists as such. ut even so we may not be able to specify clearly the character of this meaning, and the term will merely

suggest that a certain amount of information is contained in the repetition of sounds, as is the case with the repetition of le$ical units.

hymeGhyme is the repetition of identical or similar terminal sound combination of words. Ghyming words are generally placed at a

regular distance from each other. /n verse they are usually placed at the end of the corresponding lines.

/dentity and similarity of sound combinations may be relative. For instance, we distinguish between full rhymes and incompleterhymes. The full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable, including theinitial consonant of the second syllable +in polysyllabic words!, we have e$act or identical rhymes.

/ncomplete rhymes present a greater variety They can be divided into two main groups: vowel rhymes and consonant rhymes. /nvowel-rhymes the vowels of the syllables in corresponding words are identical, but the consonants may be different as in flesh - fresh

-press.


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Ghythm can be perceived only provided that there is some kind of e$perience in catching the opposite elements or features in theircorrelation, and, what is of paramount importance, e$perience in catching regularity of alternating patterns. Ghythm is a periodicity,

which re6uires specification as to the type of periodicity. /nverse rhythm is regular succession of weak and strong stress. 1 rhythm inlanguage necessarily demands oppositions that alternate: long, short" stressed, unstressed" high, low and other contrasting segments of

speech.1cademician I.0. Jhirmunsky suggests that the concept of rhythm should be distinguished from that of a metre. 0etre is any

form of periodicity in verse, its kind being determined by the character and number of syllables of which it consists. The metre is a strictregularity, consistency and unchangeability. Ghythm is fle$ible and sometimes an effort is re6uired to perceive it. /n classical verse it is

perceived at the background of the metre. /n accented verse - by the number of stresses in a line. /n prose - by the alternation of similarsyntactical patterns. Ghythm in verse as a 5. . is defined as a combination of the ideal metrical scheme and the variations of it,

variations which are governed by the standard. There are the following rhythmic patterns of verse:

iambusdactulumphibrach

anapaest.Ghythm is not a mere addition to verse or emotive prose, which also has its rhythm. Ghythm intensifies the emotions. /t

contributes to the general sense. 0uch has been said and writhen about rhythm in prose. 5ome investigators, in attempting to findrhythmical patterns of prose, superimpose metrical measures on prose. ut the parametres of the rhythm in verse and in prose are

entirely different.

Le&ical $&'ressi!e (eans and Stylistic )e!icesWords in a conte$t may ac6uire additional le$ical meanings not fi$ed in the dictionaries, what we have called conte$tual

meanings. The latter may sometimes deviate from the dictionary meaning to such a degree that the new meaning even becomes theopposite of the primary meaning. What is known in linguistics as transferred meaning is practically the interrelation between two types

of le$ical meaning: dictionary and conte$tual.The transferred meaning of a word may be fi$eK in dictionaries as a result of long and fre6uent use of the word other than in its

primary meaning. /n this case we register a derivative meaning of the word. ;ence the term transferred should be used signifying thLdevelopment of the semantic structure of the word. /n this case we do not perceive two meanings. When we perceive two meanings of

the word simultaneously, we are confronted with a stylistic device in which the two meanings interact.

+magery/n philosophy 4image4 denotes the result of reflection of the object of reality in mans consciousness. 7n the sensible level our

senses, ideas might be regarded as images. 7n a higher level of thinking images take the form of concepts, judgements, conclusions.epending on the level of reflecting the objective reality + sensual and conceptual! there are # types of images:

. 1rt - reflects the objective reality inhuman life. While informing us of a phenomenon of life it simultaneously e$presses ourattitude towards it.

#. 2iterature - deals with a specific type of artistic images, verbal - is a pen - picture of a thing, person or idea e$pressed in afigurative way in their conte$tual meaning in music - sounds. The overwhelming majority of /inguists agree that a word is the smallest

unit being able to create images because it conveys the artistic reality and image. 7n this level the creation of images is the result of theinteraction of two meanings: direct +denotation! and indirect +figurative!. 2e$ical e$pressive meanings in which a word or word

combination is used figuratively are called tropes. The verbal meaning has the following structure:. Tenor +direct thought! subjective"

#. Iehicle +figurative thought! objective"%. 9round is the common feature of T and I"

&. The relation between T and I"

'. The techni6ue of identification +The type of trope!"

T 9 G Ie. g. 5he is sly like a fo$ +simile!. /mages may be individual, general.

a! deal with concrete thing or idea e.g. Thirsty wind.b! embrace the whole book e. g. War and 3eace.

c! visuale. g. the cloudy lifeage of the skyd! oral - created by sound imitations

#lassification of Le&ical Stylistic )e!icesThere are % groups.

. The interaction of different types of le$ical meaning.

a! dictionary and conte$tual +metaphor, metonymy, irony!"b! primary and derivative +eugma and pun!"

c! logical and emotive +epithet, o$ymoron!"d! logical and nominative +autonomasia!"

#. /ntensification of a feature +simile, hyperbole, periphrasis!.

%. 3eculiar use of set e$pressions +cliches, proverbs, epigram, 6uotations!.+. The +nteraction of )ifferent Ty'es of Le&ical (eaning

. +nteraction of )ictionary ,nd #onte&tual Logical (eaningThe relation between dictionary and conte$tual meanings may be maintained along different lines: on the principle of affinity, on

that of pro$imity, or symbol - referent relations, or on opposition. Thus the stylistic device based on the first principle is metaphor, onthe second, metonymy and on the third, irony


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1 meta'hor is a relation between the dictionary and conte$tual logical meanings based on the affinity or similarity of certainproperties or features of the two corresponding concepts. 0etaphor can be embodied in all the meaningful parts of speech, in nouns,

adjectives, verbs, adverbs and sometimes even in the au$iliary parts of speech , as in prepositions. 0etaphor as any stylistic devices canbe classified according to their degree of une$pectedness. Thus metaphors which are absolutely une$pected, are 6uite unpredictable, are

called genuine metaphors. e. g. Through the open window the dust danced and was golden. Those which are commonly used in speechand are sometimes fi$ed in the dictionaries as e$pressive means of language are trite metaphors or dead metaphors e. g. a flight of fancy,

floods of tears.Trite metaphors are sometimes injected with new vigour, their primary meaning is re- established alongside the new derivative

meaning. This is done by supplying the central image created by the metaphor with additional words bearing some reference to the mainword. e. g. 0r. 3ickwick bottled up his vengeance and corked it down.

The verb 4 to bottle up 4 is e$plained as 4 to keep in check4, to conceal, to restrain, repress. 5o the metaphor can be hardly felt.

ut it is revived by the direct meaning of the verb 4to cork down4. 5uch metaphors are called sustained or prolonged. 5tylistic functionof a metaphor is to make the description concrete, to e$press the individual attitude.

(etonymy is based on a different type of relation between the dictionary and conte$tual meanings, a relation based not on

affinity, but on some kind of association connecting the two concepts which these meanings represent on a pro$imityThe pro$imity may be revealed:

! between the symbol and the thing it denotes"#! in the relations between the instrument and the action performed with this instrument"

e.g. ;is pen is rather sharp.

%! in the relation between the container and the thing it contains" e.g. ;e drank one more cup.&! the concrete is put for the abstract"

e. g. /t was a representative gathering +science, politics!.

'! a part is put for the whole"e.g. the crown - king, a hand - worker.

0etonymy represents the events of reality in its subjective attitude. 0etonymy in many cases is trite.e.g.:4 to earn ones bread4, 4to keep ones mouth shut4.

+rony is a stylistic device also based on the simultaneous realiation of two logical meanings - dictionary and conte$tual, but thetwo meanings are in opposition to each other. The literal meaning is the opposite of the intended meaning. 7ne thing is said and the

other opposite is implied.e.g. Aice weather, isnt it? +on a rainy day!.

/. +nteraction of rimary and )eri!ati!e Logical (eaningsThere are special 5s which make a word materialie distinct dictionary meanings. They are eugma and the pun. 0eugma is the

use of a word in the same grammatical but different semantic relations to two adjacent words in the conte$t, the semantic relations being

on the one hand literal, and on the other, transferred. e. g. ora, plunging at once into privileged intimacy and into the middle of theroom.

Jeugma is a strong and effective device to maintain the purity of the primary meaning when two meanings clash. The 'un is

another 5.. based on the interaction of two wellknown meanings of a word or a phrase. /t is difficult to draw a hard and fast distinctionbetween eugma and pun. The only reliable distinguishing feature is a structural one: eugma is the realiation of two meanings with thehelp of a verb which is made to refer to different subjects or objects + direct and indirect!. The pun is more independent. 2ike any 5.. it

must depend on a conte$t. ut the conte$t may be of a more e$panded character, sometimes even as large as a whole work of emotiveprose.

e.g.- id you miss my lecture ?- Aot at all.

3un seems to be more varied and resembles eugma in its humourous effect only.

1. +nteraction of Logical and $moti!e (eaning+nter2ections and Eclamatory Words /nterjections are words we use when we e$press our feelings strongly and which may be

said to e$ist in language as conventional symbols of human emotions. /n traditional grammars the interjection is regarded as a part of

speech. ut there is another view which regards the interjection as a sentence.;owever a close investigation proves that interjection is a word with strong emotive meaning.

e. g. 7h, where are you going to, all you ig 5teamers?The interjection oh, by itself may e$press various feelings such as regret, despair, disappointment, sorrow, surprise and many

others. /nterjections can be divided into primary and derivative. 3rimary interjections are generally devoid of any logical meaning./nterjections such as: ;eavensM 9ood graciousM 9od knowsM less meM are e$clamatory words generally used as interjections. /t must be

noted that some adjectives and adverbs can also take on the function of interjections - such as terribleM awfullyM greatM wonderfulMsplendidM These adjectives ac6uire strong emotional colouring and are e6ual in force to interjections.

The e'ithet isbased on the interplay of emotive and logical meaning in an attributive word, phrase or even sentence, used tocharacterie an object and pointing out to the reader some of the properties or features of the object with the aim of giving an individual

perception and evaluation of these features or properties.

#lassification of $'ithetsFrom the point of view of their compositional structure epithets may be divided into:

! simple +adjectives, nouns, participles!: e.g. ;e looked at them in animal panic.#! compound: e.g. apple - faced man"

%! sentence and phrase epithets: e.g. /t is his do - it - yourself attitude.&! reversed epithets - composed of # nouns linked by an ofphrase: e.g. 4a shadow of a smile4"


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5emantically according to /. 9alperin.! associated with the noun following it, pointing to a feature which is essential to the objects they describe: dark forest" careful

attention.#!unassociated with the noun, epithets that add a feature which is une$pected and which strikes the reader: smiling sun,

voiceless sounds.*&ymoron is a combination of two words in which the meaning is opposite in sense.

e. g.speaking silence, cold fire, living death.


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Gepetition.Enumeration.

5uspense.


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The means of this functional style are:- genuine imaginative means and 5s"

- the use of words in its conte$tual meaning"- the individual choice of vocabulary which reflects the authors personal evaluation"

- a peculiar individual selection of synta$"- the introduction of elements of other styles"

oetry. 3eculiarities - rhythm and rhyme. 1s a 5 rhythm is a combination of the ideal metrical scheme and its variations governedby the standard.

Emotive 'rose. Emotive prose is a combination of literary variant of the language and collo6uial, which is presented by the speechof the characters which is stylied that means it has been made 4literature like4 and some elements of conversational English were made

use of. Emotive prose allows the use of elements of other styles but the author changes them and fulfils a certain function. 5s used: in

emotive prose style are represented speech, detached constructions, gap - sentence link.)rama - the language of plays mainly consists of dialogues. The authors speech is in the form of stage remarks. 1ny presentationof a play is an aesthetic procedure. The language of a play has the following peculiarities:

- it is stylied +retains the modus of literary English!"- it presents the variety of spoken language"

- it has redundancy of information caused by necessity to amplify the utterance"- monologue is never interrupted"

- characters utterances are much longer than in ordinary conversation"

The uicistic Style9 its Sustyles9 and their eculiaritiesThe 3ubicistic 5tyle treats certain political, social, economic, cultural problems. The aim of this style is to form public opinion, to

convince the reader or the listener.5ubstyles: The oratory essays9 2ournalistic articles9 radio and T% commentary.

*ratory. /t makes use of a great hummber of e$pressive means to arouse and keep the publics interest: repetition, gradation,antithesis, rhetorical 6uestions, emotive words, elements of collo6uial speech.

adio and T% commentary is less impersonal and more e$pressive and emotional.

The essay is very subjective and the most collo6uial of the all substyles of the publicistic style. /t makes use of e$pressive means

and tropes.

The 2ournalistic articles are impersonal.

The News'a'er FS9 its 5substyles and their eculiaritiesTo understand the language peculiarities of English newspaper style it will be sufficient to analyse the following basic newspaper

features:

! brief news items"

#! advertisements and announcements"%! headlines"

8rief items: its function is to inform the reader. /t states only facts without giving comments. The vocabulary used is neutral and

common literary. 5pecific features are:a! special political and economic terms"b! non-term political vocabulary"

c! newspaper clichms"d! abbreviations"

e! neologisms.5eadlines. The main function is to inform the reader briefly of what the news is to follow about. 5yntactically headlines are very

short sentences, interrogative sentences, nominative sentences, elliptical sentences, sentences with articles omitted, headlines includingdirect speech.

,d!ertisements and announcements. The function of advertisements and announcements is to inform the reader. There are twotypes of them: classified and non-classified. /n classified the information is arranged according to the subject matter: births, marriages,

deaths, business offers, personal etc.

The Scientific rose Style9 its Sustyles and their eculiaritiesThe style of scientific prose has % subdivisions:

! the style of humanitarian sciences"#! the style of 4e$act4 sciences"

%! the style of popular scientific prose./ts function is to work out and ground theoretically objective knowledge about reality

The aim of communication is to create new concepts, disclose the international laws of e$istence.The peculiarities are: objectiveness" logical coherence, impersonality, unemotional character, e$actness.

Iocabulary. The use of terms and words used to e$press a specialied concept in a given branch of science. Terms are notnecessarily. They may be borrowed from ordinary language but are given a new meaning.

The scientific prose style consists mostly of ordinary words which tend to be used in their primary logical meaning. Emotivenessdepends on the subject of investigation but mostly scientific prose style is unemotional.

9rammar: The logical presentation and cohesion of thought manifests itself in a developed feature of scientific synta$ is the use ofestablished patterns.

- postulatory"- formulative"

- argumentative"

The impersonal and objective character of scientific prose style is revealed in the fre6uent use of passive constructions, impersonalsentences. 3ersonal sentences are more fre6uently used in e$act sciences. /n humanities we may come across constructions but few.

The parallel arrangement of sentences contributes to emphasiing certain points in the utterance.


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5ome features of the style in the te$t are:- use of 6uotations and references"

- use of foot-notes helps to preserve the logical coherence of ideas.;umanities in comparison with 4e$act4 sciences employ more emotionally coloured words, fewer passive constructions.

5cientific popular style has the following peculiarities: emotive words, elements of collo6uial styleThe Style of 7fficial )ocuments and its Sustyles

! 2anguage of business letters"#! 2anguage of legal documents"

%! 2anguage of diplomacy"&! 2anguage of military documents" The aim:

. to reach agreement between two contracting parties"

#. to state the conditions binding two parties in an understanding. Each of substyles of official documents makes use ofspecial terms. 2egal documents: military documents, diplomatic documents. The documents use set e$pressions inherited from earlyIictorian period. This vocabulary is conservative. 2egal documents contain a large proportion of formal and archaic words used in their

dictionary meaning. /n diplomatic and legal documents many words have 2atin and French origin. There are a lot of abbreviations andconventional symbols.

The most noticable feature of grammar is the compositional pattern. Every document has its own stereotyped form. The form itselfis informative and tells you with what kind of letter we deal with.

usiness letters contain: heading, addressing, salutation, the opening, the body, the closing, complimentary clause, the signature.

5yntactical features of business letters are - the predominance of e$tended simple and comple$ sentences, wide use of participialconstructions, homogeneous members.

0orphological peculiarities are passive constructions, they make the letters impersonal. There is a tendency to avoid pronoun

reference. /ts typical feature is to frame e6ually important factors and to divide them by members in order to avoid ambiguity of thewrong interpretation.

,SS+GN($NTS F* ST:L+ST+# ,N,+:S+S ;*5N G,LSW*T5:

T;E 01A 7F 3G73EGTN /GEAE5 GETQGAThe passage deals with /renes return home after osinneys death.7n reaching home, and entering the little lighted hall with his latchkey, the first thing that caught his eye was his wifes gold-

mounted umbrella lying on the rug chest. Flinging off his fur coat, he hurried to the drawing-room.The curtains were drawn for the night, a bright fire of cedar logs burned in the grate, and by its light he saw /rene sitting in her usual

corner on the sofa. ;e shut the door softly, and went towards her. 5he did not move, and did not seem to see him.45o youve come back?4 he said. 4Why are you sitting here in the dark?4

Then he caught sight of her face, so white and motionless that it seemed as though the blood must have stopped flowing in herveins" and her eyes, that looked enormous, like the great, wide, startled brown eyes of an owl.

;uddled in her grey fur against the sofa cushions, she had a strange resemblance to a captive owl, bunched in its soft feathers

against the wires of a cage. The supple erectness of her figure was gone, as though she had been broken by cruel e$ercise" as though

there were no longer any reason for being beautiful, and supple, and erect.45o youve come back,4 he repeated.

5he never looked up, and never spoke, the firelight playing over her motionless figure.5uddenly she tried to rise, but he prevented her" it was then that he understood.

5he had come back like an animal wounded to death, not knowing where to turn, not knowing what she was doing. The sight of herfigure, huddled in the fur, was enough.

;e knew then for certain that osinney had been her lover" knew that she had seen the report of his death S perhaps, like himself,had bought a paper at the draughty corner of a street, and read it.

5he had come back then of her own accord, to the cage she had pined to be free of - and taking in all the tremendous significance ofthis, he

longed to cry: Take your hated body, that / love, out of my houseM Take away that pitiful white face, so cruel and soft- before / crushit. 9et out of my sight" never let me see you againM4

1nd, at those unspoken words, he seemed to see her rise and move away, like a woman in a terrible dream, from which she wasfighting to awake - rise and go out into the lark and cold, without a thought of him, without so much as the knowledge of his presence.

Then he cried, contradicting what he had not yet spoken, 4Ao" stay thereM4 1nd turning away from her, he sat down in hisaccustomed chair on the other side of the hearth.

They sat in silence.1nd 5oames thought: 4Why is all this? Why should / suffer so? What have / done? /t is not my faultM4

1gain he looked at her, huddled like a bird that is shot and dying, whose poor breast you see panting as the air is taken from it,

whose poor eyes look at you who have shot it, with a slow, soft, unseeing look, taking farewell of all that is good S of the sun, and theair, and its mate.

5o they sat, by the firelight, in the silence, one on each side of the hearth.

1nd the fume of the burning cedar logs, that he loved so well, seemed to grip 5oames by the throat till he could bear it no longer.1nd going out into the hall he flung the door wide, to gulp down the cold air that came in" then without hat or overcoat went out into the

56uare.1long the garden rails a half-starved cat came rubbing her way towards him, and 5oames thought: 45ufferingM when will it cease,

my suffering?41t a front door across the way was a man of his ac6uaintance named Gutter, scraping his boots, with en air of 4/ am master here4.

1nd 5oames walked on.


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From far in the clear air the bells of the church where he and /rene had been married were pealing in 4practice4 for the advent of


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0rs.


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(. iscuss the E0s and 5s used by 0rs.


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. 2ove alters not with his brief hours and weeks.#. ut bears it out even to the edge of doom.

%. /f this be error and upon me proved.&. / never writ, nor man ever loved.

. e ready to paraphrase and interpret any part of the sonnet.#. 5peak on the idea of the sonnet.

%. iscuss the structure of the sonnet.

&. Find the modifiers of rhythm that are used in the sonnet and comment on them.

'. 5peak on the rhymes of the sonnet: a! cases of imperfect rhyme" b! the rhyme of the epigrammatic lines.(. iscuss the idea of the epigrammatic lines.

). Find cases of metaphors and metaphoric periphrases employed in the sonnet and comment on them.*. iscuss the 5 used by the poet in the description of Time.

U. Find cases of alliteration +and other sound repetition! that help to bring out the idea of the sonnet +lines %,&!.V. 5tate the stylistic function of the interjections: 47, noM4 +lines '!.

. 5umming up the analysis of the sonnet speak on the poets conception of love and the various 5s used to bring the poets ideahome. E$press your own attitude to the subject.

W+LL+,( W*)SW*T5

T;E 1FF7/25

/ wandered lonely as a cloudThat floats on high oer vales and hills,

When all at once / saw a crowd,1 host, of golden daffodils.

eside the lake, beneath the trees,

Fluttering and dancing in the breee.


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V. That on the ashes of his youth doth lie,. 1s the death-bed whereon it must e$pire

#.

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Stylistics 175