Bondar Uchebnik

МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ
Південноукраїнський державний педагогічний

університет ім. К. Д. Ушинського
Кафедра германської філології та методики викладання іноземних мов
С. В. Боднар
СТИЛІСТИКА АНГЛІЙСЬКОЇ МОВИ

Навчальний посібник
для студентів, магістрантів,
викладачів англійської мови
Одеса
2008
УДК 410+908
Затверджено Вченою Радою ПДПУ ім. К. Д. Ушинського

(протокол № 1 від 25 вересня 2008 р.)
Ук л а д ач:
С. В. Боднар, кандидат педагогічних наук, доцент кафедри герман-
ської філології і методики викладання іноземних мов
Р е ц е н з е н т:
Т. Є. Єременко, кандидат філологічних наук, професор, завідувач
кафедри германської філології і методики викладання іноземних мов
Навчальний посібник з курсу «Стилістика англійської мови»

для студентів, магістрантів, викладачів англійської мови / Уклала
С. В. Боднар. — Одеса: ПДПУ ім. К. Д. Ушинського, 2008. — 99 с.
Навчальний посібник з курсу «Стилістика англійської мови« призначено

для студентів, магістрантів, викладачів англійської мови. Мета посібника —
ознайомлення студентів з предметом стилістики, її вихідними поняттями, фоне-
тичними, морфологічними, лексичними, синтаксичними та семасіологічними
стилістичними засобами, з функціональними стилями сучасної англійської мови
та різноманітними класифікаційними підходами до зазначених вище понять і
одиниць. В посібнику подано тексти для стилістичного аналізу, теоретичні пи-
тання, практичні завдання і підсумкові тестові роботи.
УДК 410+908
© С. В. Боднар, 2008
2
CONTENTS
FOREWORD ........................................................................................................... 4
PRELIMINARY REMARKS ................................................................................. 6
BASIC NOTIONS .................................................................................................. 9
SEMINAR I. Subject-Matter of Stylistics. Language Style.
Phono-Graphical Level .................................................................... 30
Text for Analysis: Milne A. A. Winnie-the-Pooh ................................................. 33
Test Your Knowledge ........................................................................................... 38
SEMINAR II. Lexical Level ................................................................................... 41
Text for Analysis: Carroll L. Alice in Wonderland ............................................... 44
SEMINAR III. Syntactical Level ........................................................................... 51
Text for Analysis: Greene G. The Invisible Japanese Gentlemen ........................ 52
SEMINAR IV. Lexico-Syntactical Level ............................................................... 59
Text for Analysis: Joyce J. Eveline ....................................................................... 61
SEMINAR V. Peculiar Use of Set-Phrases ........................................................... 68
Text for Analysis: Christie A. Where There’s a Will ............................................. 69
SEMINAR VI. Stylistic Differentiation of the English Vocabulary ................... 77
Text for Analysis: Cheever J. I’m Going to Asia .................................................. 80
FINAL TEST ............................................................................................................ 86
SELF-STUDY TOPICS IN STYLISTICS ........................................................... 92
SAMPLES OF ASSIGNMENTS
FOR STUDENTS’ INDEPENDENT WORK ..................................................... 93
LIST OF THE EXAMINATION QUESTIONS ................................................. 94
RECOMMENDED LITERATURE ....................................................................... 95
3
FOREWORD
The main goal of teaching Modern English Stylistics as an academic

subject is to introduce students to this discipline and its interrelations with
other branches of linguistics. The updated syllabus of this course provides
an insight into both structural and cognitive understanding of stylistic enti-
ties and phenomena, into multi-aspect differentiation of speech registers,
as well as into different contemporary approaches to text interpretation.
The tasks of the course of lie in:
— explaining students basic notions, concepts and problems of stylis-
tics,
— instructing them how to identify and analyse linguostylistic phe-
nomena in the literary and other registers of language,
— helping students to acquire philological competence in interpretation
of the text as an artistic whole,
— improving students’ general knowledge of English (at all of its struc-
tural levels) and developing their critical viewpoint upon stylistic peculiar-
ities of language use.
As a result of studying the course of English Stylistics students are ex-
pected to:
— distinguish stylistic categories and phenomena from those of other
linguistic disciplines,
— comment upon functional roles of expressive means and stylistic de-
vices in speech and discourse products,
— know various approaches to stylistic differentiation of the English
language,
4
— choose units of different functional styles in accordance with appro-
priate linguistic contexts,
— understand the literary text as a multi-layer construct and an open
system that requires manifold approaches to its interpretation,
— be philologically competent in applying linguostylistic and other
types of analysis to the literary text.
By the end of the course students should be able to present well-rounded
interpretations of sample texts in the module test and at the examination.
The significance of the course of Stylistics of English consists in im-
proving fourth-year students’ linguistic and communicative competence
that relates to their knowledge of structural language units and their func-
tioning in speech.
5
PRELIMINARY REMARKS
Stylistics (sometimes called linguo-stylistics) is a philological science

which deals with two independent tasks:
1) the investigation of the inventory of special language media with the
help of which the author can send his message to the reader and produce
the desirable effect of the utterance;
2) the investigation of certain types of texts which due to the choice and
arrangement of language means are distinguished by the pragmatic aspect
of communication.
The types of texts are called functional styles of language (FS).
Functional Style (FS) is a patterned variety of literary text characterized
by the greater or lesser typification of its constituents, supra-phrasal units
(units — larger than 1 sentences. They comprise a number of sentences) in
which the choice and arrangement of interdependent and interwoven lan-
guage media are calculated to secure the purport of the communication
(I. R. Galperin).
There are 5 main functional styles: an official style, a newspaper style, a
publicistic style, a scientific style and a belles-lettres style.
The special media of language which secure the desirable effect of the
utterance of any text are called stylistic devices (SD) and expressive means
(EM).
Expressive Means are phonetic, morphological, word-building, lexical,
phraseological and syntactical forms which exist in language-as-a-system
for the purpose of logical and emotional intensification of the utterance.
Stylistic Devices are conscious and intentional intensifications of some
typical structural and semantic property of a language unit (neutral or ex-
pressive) promoted to a generalized status and thus becoming a generative
model.
The investigation of SDs and EMs touches upon such general language
problems as the aesthetic function of language, synonymous ways of ren-
dering one of the same idea, emotional colouring in language, the interre-
lation between language and thought, the individual manner of an author in
making use of language.
The investigation of functional styles touches upon the problem of oral
and written varieties of language, the notion of the literary language, the
constituents of texts larger than the sentence.
6
Stylistic analysis of the text requires the following things: choice of lan-
guage meaning, how these choices are combined, what is the result of
these combinations, feeling what is normal, usual in language and what is
new and how these things are expressed. So stylistic analysis is based on
our knowledge of language.
Speaking about the norm we can say that there is no single universally
relevant norm. The norm in stylistics is regarded as the invariant of the
phonemic, morphological, lexical and syntactical patterns circulating in
language-in-action at a given period of time.
Stylistics — the origin of the term goes to the Greek word “stilus” — a
short stick of wood used by the Romans for writing on wax tablets.
Now the word “style” is used in many senses.
1. It is applied to teaching of how to write a composition.
2. It is used to reveal the correspondence between thought and expres-
sion.
3. It denotes an individual manner of making use of language.
4. In the language “style” is a system of concrete use of the phonetic,
vocabulary and grammatic means of the language, a system which reflects
the attitude of the writer or the speaker to the subject matter of the utter-
ance.
All these ideas about the style directly or indirectly bear on issues in sty-
listics.
So, the branch of philological science which deals with the style of
styles is called stylistics.
But the word “style”, being ambiguous, needs a restriction to denote
what particular aspect of style we intend to deal with. It is suggested that
the term individual style should be applied.
There are 5 levels for analysis: 1) phonemic (where phonemes are ana-
lysed); 2) morphemic (where morphemes are analysed); 3) lexical (where
words are analysed); 4) syntactical (where sentences are analysed); 5) tex-
tual (where the whole text is analysed).
The scheme of stylistic analysis
1. Speak about the author of the text and his literary activity.
2. Give a short account of the text.
3. Give your observations as to the functional style, and if it is a
belles-lettres style name the genre of the story (novel): social, psychologi-
cal, historical, detective, science fiction, documentary. Prove your reasons.
7
4. Analyse the composition of the text: types of narration and compo-
sitional speech types.
5. Tell about the development of the plot. Point out the exposition, the
setting, the climax and the denouement. Define the theme.
6. Speak about the title, the beginning and the end of the text.
7. Speak about the tone. Does the author treat the material objectively
or subjectively?
8. Point out the focus of the narration.
9. Characterise the personages (main — secondary; round — flat).
10. Discuss all the stylistic devices you can find in the text: name them
and speak of their functioning.
11. Make the conclusion of your analysis.
8
BASIC NOTIONS
PHONO-GRAPHICAL STYLISTIC DEVICES
The main spring of these stylistic devices is phoneme, the way of

presentation and the way all these phonemes are combined. Phonemes are
presented through graphemes in the written version.
Phonetic Stylistic Devices
Onomatopoeia, or Sound Imitation (from Greek “словотворчество”)
Onomatopoeia is a combination of speech sounds which aims at imitat-
ing sounds produced in nature (wind, sea, thunder), by things (machines,
tools), by people (sighing, laughter, patter of feet) and by animals.
e.g. Barking, roaring, buzzing.
Alliteration (from Latin “ad” — “к”, “при”, “littera” — “буква”) is a
deliberate repetition of consonant phonemes in order to achieve a special
melodic effect.
e.g. The possessive instinct never stands still. Through florescence and feud,
frosts and fires it follows the laws of progression. (J. Galsworthy)
Assonance (from French “assonance” — “созвучие”) is a deliberate
repetition of vowel phonemes.
Tenderly bury the fair young dead. (M. La Coste)
I awaited a belated train. (R. White)
Graphical Stylistic Devices
Print (italics, bold type, capital letters (capitalisation), petite, spacing of
lines). The usage of different kinds of print is for special purposes:
1. Quotation of somebody’s words — (this function isn’t connected
with the stylistic function).
2. Inner monologue of the character.
3. Logical or emotional intensification of the thought.
4. Humorous effect.
5. Emphatic intensification.
6. Loudness of the voice (usually capital letters).
Hyphenation appears inside of words where it is not usually present.
Each syllable gets a special meaning or stress.
e.g. cir-cum-stan-ces; lin-guis-tics; al-pha-be-tic (order).
9
Multiplication is repetition of letters or syllables in a word where it is
not expected to be. It conveys the intensity of speech.
e.g. M-m-marry me! Л-л-ласковая; ура — ур-а-а!
Graphemes is a special layout of elements or fragments of the text
(paragraphs, headlines, subheads) in relation to each other.
Graphon is a misspelling of a word to show a mistake in pronunciation.
By means of graphons the reader gets some additional information about
the character:
1) educational level,
2) age (childish speech),
3) foreigners,
4) race,
5) physical,
6) social status,
7) formality or informality of communication,
8) defect of speech.
MORPHEMIC STYLISTIC DEVICES
Morphemic repetition
1) Root repetition (cheap — cheaper — cheapest).
2) Repetition of endings (taking — running — dipping — sucking),
(wined — dined — closed — romanced).
Occasional words, or Nonce-words are words which are coined to suit
one particular occasion.
e.g. to wine somebody; to romance smb; to dine smb; to zig zag — to move
in zig zag. “I am wived in Texas, and mother-in-lawed and uncled and aunted
and cousined.” (J. Steinbeck)
LEXICAL STYLISTIC DEVICES (TROPES)
Semasiology is a branch of linguistics devoted to the study of meaning

in the language.
Stylistic semasiology is a science which deals with additional expres-
sive, evaluative, subjective connotations of the words. It studies tropes:
expressions in which a words or phrase is used in its figurative meaning.
Tropes are also called figures of replacement because the language user
discards the usual name of the object and replaces it with another.
10
Figures of replacement are divided into 2 classes:
1) figures of quantity: hyperbole /understatement (meiosis) and litotes;
2) figures of quantity: metonymy, metaphor, irony.
The figures of replacement demonstrate the type of renaming in which
their basis is inexactitude of measurement, disproportion of the object and
its verbal evaluation.
Figures of replacement (tropes)

Figures of quantity Figures of quality
irony
hyperbole / metonymy metaphor
litotes antonomasia
understatement synecdoche personification
epithet
Lexical Stylistic Devices are types of denoting phenomena that create

additional expressive, evaluative, subjective connotations. They are also
called tropes.
Tropes are expressions in which a word or phrase is used in its figura-
tive meaning. Figurative meaning is the meaning which makes it possible
to depict in vivid terms objects or phenomena and the feelings associated
with them which we experience through our organs (sight, hearing, smell,
touch and taste).
The most important tropes are antonomasia, metaphor, personification,
metonymy, synecdoche, irony, play on words, hyperbole, epithets and ox-
ymoron).
Antonomasia is a Lexical Stylistic Device in which a proper name is
used instead of a common noun or vice versa. The writer creates “speaking
names” which aim at depicting certain traits of human character: moral,
psychological features, peculiarities of behavior. The double role of speak-
ing names: to qualify, to name.
e.g. “Every Caesar has his Brutus.”
“There are 3 doctors in an illness like yours. I don’t mean only myself, my
partner and the radiologist who does your X-rays, the three I am referring to are
Dr. Rest, Dr. Diet and Dr. Fresh Air.” (D. Cusack).
Metaphor is a stylistic device based on the principle of identification of
two objects. Identification shouldn’t be equated to resemblance. It creates
images It relies on emotional and aesthetic character, not logical. It is the
transference of some quality from one object to another.
e.g. A shadow of a smile, a gleam of hope.
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Personification is a metaphor based on names of people’s actions, peo-
ple’s features are used to denote lifeless things.
e.g. A coughing microphone; whispering trousers; a pain of joy ran through
him; the nature blushed.
Zoosemy is a metaphor based on names or features animals is used to
denote human qualities.
e.g. He barked, roared. He is a bear (means a clumsy person). He is a whale
(means a clever person).
The stylistic function of metaphor is to catch the reader’s attention and
to create vivid images.
Metonymy is a stylistic device based on the principle of substitution of
one object for another. It is not identification, but some kind of association
connecting the two concepts which these meanings represent. It is a trans-
fer of meaning based on similarity.
e.g. The word “crown” may stand for “queen”, the word “cup” may stand
for “the drink it contains”; the word “woolsack” stands for the “Chancellor who
sits on it”.
Here the noble lord inclined his knees to the Woolsack.
She was preceded by a Babylonian collar.
Synecdoche (from Greek “syn” — “вместе”, “ekdoche” — “перени-
мание”) is the type of metonymy which is based on the transfer of mean-
ing from one phenomenon to another through the quantitative relationship
between the two.
e.g. He went through perfumed conversation = He went through the people
who were talking and having the smell of perfume.
Irony is the contextual use of the word in the meaning which is opposite
to the dictionary meaning designed to achieve a derisive effect. It is a ver-
bal irony.
e.g. “It must be delightful to find oneself in a foreign country without a pen-
ny in one’s pocket.” (newspaper, Moscow News)
There is also situational irony which is realized in the complete text. A
wide context is needed to understand that the word is used ironically. (e.g.
“A Canary for One” by E. Hemingway)
Bitter irony which deals with social matters is called sarcasm. It
amounts to cruel derision.
12
Irony can be expressed by any part of speech, most often by a noun, an
adjective and adverb. The effect of irony depends on the unexpectedness
and seeming lack of logic of a word. The reader is fully aware of the con-
trast between what is logically expected and what is said.
Play on words — it’s a result of speakers’ intended violation of listen-
er’s expectations. It exists in two subdivisions: zeugma and pun.
Zeugma — it is the use of a word in the same grammatical but different
semantic relations to two adjacent words in the context, the semantic rela-
tions being, on the one hand, literal, and, on the other hand, transferred.
e.g. Dora plunged into the priviledged intimacy and into the middle of the
room. (G. B. Shaw)
Pun (from French “calembour” — “игра слов”) is a SD based on the
interaction of two well-known meanings of a word or phrase.
e.g. A young lady is weeping: My husband can’t bear children. Her mother:
He needn’t bear children, my dear. You shouldn’t expect it. It’s not in the man’s
nature.
Hyperbole is a deliberate exaggeration of a feature (size, power, signifi-
cance) essential to the object. Exaggeration can be carries to an illogical
degree.
e.g. “He was so tall that I wasn’t sure that he had a face.” (O. Henry)
For hyperbole it is necessary: to do it deliberately; it must be illogical;
your interlocutor must understand that you exaggerate, mutual understand-
ing.
Types of hyperbole:
1. Understatement — when you deliberately underrate something.
e.g. She is the woman of a pocket size. He is a Liliput. Мужичок с ноготок
(Н. А. Некрасов).
2. Hyperbole proper.
e.g. He is a Gargantuan.
Hyperboles can be also:
1. Qualitative.
e.g. She is a real elephant.
2. Quantitative.
e.g. I would kiss you a hundred times.
13
Hyperbole is widely used in folklore (in heroic epics and fairy-tales) and
in literature. Colloquial speech in rich in hyperbolic expressions. They
serve to convey intensity of feeling — emotional saturation. In colloquial
discourse hyperbole makes use of especially striking intonation with great
rises and falls of voice.
Epithet (from Greek “epitheton” — “приложение”) is a stylistic device
which expresses a characteristic of an object both existing and imaginary.
Its basic features are emotiveness and subjectivity. Epithet must have such
qualities as: 1) evaluation, 2) emotional colouring, 3) subjectivity.
e.g. Wild wind, loud ocean, heart-burning smile.
Epithets may be classified from semantic and structural standpoints.
1. Effective, or Associated. They pint to a feature which is essential to
the objects they describe. The idea expressed in the epithet is to a certain
extent inherent in the concept of the object. The epithet refers the mind to
the concept in question due to some actual quality of the object it is at-
tached to.
2. Figurative, or Unassociated. They are attributes used to characterize
the object by adding a feature not inherent in it — a feature which may be
so unexpected as to strike the reader by its novelty.
e.g. voiceless sands, burning smile, sleepless bay.
Figurative epithets can be metaphoric (a wooden smile) and metonymic
(a lip-sticky smile).
When there is a chain of attributes where some attributes are epithets
and some — not, we have the predominant influence of epithets and all at-
tributes are considered epithets.
Structurally:
1) one-word (simple): a bright smile, an awful district, a fatal city.
2) chain of epithets: a bright, sunny smile; a plump, rosy, young, fresh
woman.
3) compound epithets: a heart-burning smile, cloud-shapen giant, apple-
faced woman, well-matched couple.
4) sentence epithet (It implies emotive address): My sweet! Fool! Idiot!
Кисонька! Лапочка!
5) phrase epithet (фразовый эпитет). It is considered as a single word.
e.g. do-it-yourself attitude; go-it-alone attitude; I-am-not-that-kind-of-girl
look was in her eyes.
Just-dare-you-move expression was in his eyes (about the dog).
14
6) reversed epithet (инвертированный или смещенный эпитет). It is
composed of two nouns linked in an of-phrase. Such epithets are meta-
phorical. The noun to be assessed is contained in the of-phrase and the
noun it qualifies is a metaphor.
e.g. An angel of a girl; a doll of a wife; the shadow of a smile; a devil of a
job (W. S. Maugham); a military abbreviation of a smile (Gr. Greene); a dog of
a fellow (Ch. Dickens).
Oxymoron (from Greek “oxys” — “острый”, “moros” — “бессмыс-
ленный”) is a combination of two words (mostly an adjective and a noun)
(or an adverb and an adjective) in which the meanings of the two words
clash, being opposite in sense.
e.g. Low skyscraper; nice rascal; pleasantly ugly face; гірка радість;
дзвінка тиша; щасливе горе; очень миловидная женщина-бульдог.
SYNTACTICAL STYLISTIC DEVICES
Syntactical Stylistic devices are based on the communicative type of the

sentence or completeness of its structure or arrangement of the elements.
It’s the device the essence of which consists in reshaping the grammati-
cal meaning of the interrogative sentence. The question is no longer a
question but a statement expressed in the form of an interrogative sen-
tence. Is doesn’t require an answer. The speaker knows the answer himself.
e.g. “Are these the remedies for a starving and desperate populace?”
(G. Byron).
Ellipsis is a stylistic device involving the omission of some implied part
of the sentence. It can be the absence of two main members of the sentence
or one of them.
e.g. Did he act well yesterday? — Acted well. How well does he know Eng-
lish? — Rather well.
Aposiopesis, or Break-in-the-Narrative is a device which dictionaries
define as “a stopping short for rhetorical effect.” It’s usually caused by:
1) unwillingness to proceed; 2) the supposition that what remains to be
said can be understood by the implication; 3) uncertainty as to what
should be said; 4) emotions.
Aposiopesis (Break-in-the-narrative) is a device which dictionaries de-
fine as a stopping short for rhetorical effect. It is usually caused by 1) un-
willingness to proceed, 2) supposition that what remains to be said can be
15
understood by the implication, 3) uncertainty as to what should be said,
4) emotions when a person id full of emotions.
e.g. “Will you come to me?” — “Oh, it depends…”
You just come home or I’ll…
Inversion is a violation of the accepted word order. It aims at attaching
logical stress or additional emotional colouring to the surface meaning of
the utterance.
e.g. Talent Mr Smith has, capital Mr Smith hasn’t.
“Rude am I in my speech.” (W. Shakespeare).
Detachment is a device when on of the secondary parts od a sentence
by some specific consideration of an author is placed so that it seems for-
mally independent of the word it logically refer to.
e.g. “After a while she began to dress, slowly.” (J. Steinbeck)
“I want to go,” he said, miserable. (J. Galsworthy)
Suspense is a deliberate separation of two close members of the sen-
tence. It arranges the matter of communication in such a way that the less
important, descriptive, subordinate parts are amassed at the beginning, the
main idea being withheld till the end of the sentence.
e.g. “Mankind, says a Chinese manuscript, which my friend was obliging
enough to read and explain to me, for the first seventy thousand ages ate their
meat raw.” (Ch. Lamb)
Repetition — is the recurrence of the same word, word-combination,
phrase two or more times. When the word is repeated at the beginning of
the phrase it is called anaphora. When the word is repeated at the end of
the phrase it is called epiphora. When the words are repeated one after one
it is successive repetition. When the repeated words have no definite place
in the sentence and are repeated in various positions, this is ordinary repe-
tition.
Polysyndeton is the repeated use of conjunctions.
Asyndeton is the deliberate omission of conjunctions is called
“Who makes fame? Critics, writers, stockbrokers, women.”
(W. S. Maugham)
Parallelism is parallel constructions which deal with the repetition of
the structure of several successive sentences.
e.g. I love you. I love you. I love you
16
LEXICO-SYNTACTICAL STYLISTIC DEVICES
Syntactical stylistic devices add logical, emotive, expressive infor-

mation to the utterance regardless of lexical meanings of the sentence
components. But there are certain structures whose emphasis depends not
only on the arrangement of the sentence members but also on the lexico-
semantic aspect of the utterance. They are known as lexico-syntactical sty-
listic devices.
Climax (gradation), anticlimax, antithesis, simile, litotes, periphrasis.
Climax, or Gradation is a construction which occupies three steps or
more which are syntactically parable to each other but each next step is
more important (logically and mentally) then the preceding one.
In climax we deal with strings of synonyms or semantically related
words belonging to the same thematic group.
— High step
—
—
— Low step
e.g. It was a lovely , a beautiful city, a fair(прекрасный) city, a veritable e.g.
It was a lovely, a beautiful city, a fair city, a veritable gem of a city.
At first I felt sympathy to him, then I liked him, now I admire him.
Grand view, isn’t it? — Magnificent. — Superb.
Climax can be not only in ascending order but in descending order as to
the expressing quality or quantity.
e.g. “Be careful,” said Mr. Jingle. “Not a look. Not a wink. Not a syllable.
Not a whisper.” (Ch. Dickens)
A gradual increase in significance may be maintained in 3 ways: logical,
emotional, quantitative.
1. Logical climax is based on the relative importance of the compo-
nents if we judge from the point of view of the concepts embodied in
them.
e.g. “Nobody ever stopped him in the street to say, with gladsome looks,
‘My dear Scrooge, how are you? When will you come to see me?’ No beggars
implored him to bestow a trifle, no children asked him what it was o’clock, no
man or woman ever once in all his life inquired the way to such and such a
place, of Scrooge.” (Christmas Carol by Ch. Dickens)
17
2. Emotional climax is based on the relative emotional tension pro-
duced by words with emotive meaning.
e.g. “He was pleased at first, then he was grateful, then he was delighted, at
least he was rejoiced”
Sometimes here we meet two-step structure in which the second part re-
peats the first one but strengthened by an intensifier: “He was so helpless,
so very helpless. I was unhappy here, so very, very unhappy.”
3. Quantitative climax — this is an evident increase in the volume of
the corresponding concepts.
e.g. “They looked at hundreds of houses, they climbed thousands of stairs,
they inspected innumerable kitchens” (W. S. Maugham The Escape)
In this example the climax is achieved by simple numerical increase.
Climax is a means by which the author discloses his world outlook, his
evaluation of objective facts and phenomena.
The stylistic function is to show the relative importance of things as
seen by the author or to impress upon the reader the significance of the
things described by suggested comparison or to depict phenomena dynam-
ically.
Anticlimax. The idea expressed is arranged in ascending order of sig-
nificance but the final component, which the reader expects to be the cul-
minating one, defeat the reader’s expectations and ends in a complete se-
mantic reversal of the emphasized idea. There is a sudden drop from the
lofty or serious to the ridiculous.
e.g. Делать что-то за кусок хлеба мерзко, гадко, противно и, наконец, …
просто неохота.
“This war-like speech, received with many a cheer, had filled them with de-
sire of fame, and … beer.” (G. Byron)
“Early to rise and early to bed makes a man healthy, wealthy and dead.”
(J. Thurber)
“I was obliged to call on dear lady Harbury I hadn’t been there since her poor
husbands’ death. I ever saw a woman so altered: she looks quite 20 years
younger.” (O. Wilde)
Antithesis is always two parallel constructions syntactically, but their
meanings should clash with each other. They are opposite lexically (anto-
nyms or their contextual equivalents).
e.g. Married men have wives and don’t seem to want them, single fellows
have no wives, and do itch to obtain them.
18
Friends and enemies.
A saint abroad and a devil at home.
“Youth is lovely, age is lonely, Youth is fiery, age is frosty.” (H. Longfellow)
“Some people have much to live on and little to live for.” (O. Wilde)
Antithesis has the following basic functions:
1) rhythm –forming (because of the parallel arrangement on which it is
founded)
2) copulative;
3) dissevering;
4) comparative.
e.g. На площади собрались здоровые и дышащие на ладан, честные и
нечестные, бородатые и безбородые, молодые и старые.
Antithesis can be observed on the morphemic level too where two an-
tonymous affixes create a powerful affect of the contrast:
e.g. “Their pre-money wives didn’t go together with their post-money
daughters.” (E. Hemingway)
Их жены, у которых не было денег, не соответствовали дочерям, у кото-
рых уже были деньги.
The main function is to stress the heterogeneity of the described phe-
nomenon, to show that the latter is a dialectical unity of two or more op-
posing features.
Litotes is a double negation, but in reality it is not a negation but affir-
mation opposite meaning.
e.g. It is not a bad thing = it is a good thing
He is not a fool = he is clever
The negation doesn’t indicate the absence of the quality mentioned but
suggests the presence of the opposite quality. It is used by the author to
underline the expressiveness of the negation. Sometimes it shows the irony
or the author doesn’t want to use a rude word and he substitutes it with an-
other word-opposite with the meaning, but with the negation.
There are four types of litotes:
1. Negation “not or no” + derogatory word
e.g. He is not a fool (he is not a lamb) — в контексте набирает
пренебрежительную окраску
2. Negation + negative prefix or suffix in the word
19
e.g. I am not unaware
3. Not + preposition “without” + word
e.g. Not without satisfaction — means “I am satisfied”
4. Intensifier + word
(Too, often, totally, completely)
e.g. She is too beautiful — in the ironic meaning “She is ugly”
5. Negation + words few, many
e.g. She made not many mistakes.
Litotes may be regarded as deliberate understatements.
The function of litotes has much in common with that of understate-
ment — both weaken the effect of the utterance. The uniqueness of litotes
lies in its specific “double negative” structure and in its weakening only
the positive evaluation. The Russian term “литота” corresponds to the
English “understatement” and to the English word “litotes”.
e.g. “I have had a profession and then a firm to cherish”, said Ravenstreet,
not without bitterness.” (J. B. Priestly)
“I felt I wouldn’t say ‘no’ to a cup of tea.”
“I was quiet, but not uncommunicative.” (J. Barth)
Simile is an imaginative comparison of two unlike objects belonging to
two different classes. The one which is compared is called the tenor, the
one with which it is compared is called the vehicle.
Comparison and simile must not be confused. Comparison means
weighing two objects belonging to one class of the things with the purpose
of establishing the degree of their sameness or difference. Simile charac-
terizes one object by bringing it into contact with another object belonging
to the different class of things.
e.g. The boy seems to be as clever as his mother — comparison used to state
an evident fact.
“Maidens like moths are caught by glare.” — simile (G. Byron)
Sometimes the author waits a certain piece of knowledge from the read-
ers when they are supposed to know the things he is talking about.
e.g. One of the girls was like Leonardo’s women. The other was like illus-
trated girls.
20
Similes in which the link between the tenor and the vehicle is expressed
by notional verbs such as “to resemble, to seen, to recollect, to remember,
to look like, to appear” are called disguised, as the likeness between the
objects sees less evident.
e.g. “His full grin made his large teeth resemble a dazzling miniature piano
keyboard in the green light.” (J. Jones)
“It was that moment of he year when the countryside seems to faint from its
own loveliness, from the intoxication of its scents and sounds.” (J. Galsworthy)
In the English language there is a long list of hackneyed similes pointing
out the analogy between the various qualities, states or actions of human
being and the animals supposed to be the bearers of the given quality.
e.g. as treacherous as a snake, as sly as a fox, as savage as a tiger, as busy as
a bee, as hot as an oven, as industrious as an ant, as cold as a frog, as blind as a
bat, as faithful as a dog, as steady as time, as work like a horse.
Periphrasis is a device which denotes the use of a longer phrasing in-
stead of a possible shorter form of expression. It is also called circumlocu-
tion.
It is an indirect way of naming a familiar objects describing its essential
characteristics or indicating its distinctive traits.
e.g. My better half (wife),
Gentle, soft, fair sex (women),
A gentleman of the long robe (lawyer).
Царица цветов (роза), царь зверей (лев), страна восходящего солнца
(Япония).
There are also stylistic periphrases.
“I understand you are poor and I wish to earn money by nursing the little
boy, my son, who has been so prematurely deprived of what can never be re-
placed.” (Ch. Dickens)
The periphrasis is necessary if there are rude or unpleasant words in the
text which have a taboo on them. We don’t use words but we must name
them same how.
Periphrases can be divided into:
1. Periphrases can be divided into:
a) Logical
b) Figurative (metonymic or metaphoric).
21
Logical is based on one of the inherent properties or a passing feature of
the object described.
Logical periphrases are phrases synonymic with the words substituted
by periphrases.
e.g. the instruments of destruction = pistols (Ch. Dickens)
the most pardonable of human weakness = love (Ch. Dickens)
Figurative is based either on metaphor or metonymy.
The key-word of the collocation is the word used figuratively.
e.g. I want to go to pick flowers = I want to go to the WC (toilet)
to tie the knot = to marry
2. Periphrases also can be divided into:
a) Euphemistic (from Greek — “eu” = “well” + “pheme” = “speak-
ing”);
b) Non-euphemistic.
Euphemistic periphrasis is the usage of a word or phrase to replace an
unpleasant word or expression by a conventionally more acceptable one.
They may have various causes: superstition (devil — deuce — dickens)
social and moral taboos (to copulate — to make love) the need to express
something in a more delicate way: the word to die can be substituted with
the following euphemisms: “to pass away”, to depart, to join the majority,
to be gone, to kick the bucket, to go west”.
So euphemisms are synonyms which aim at producing a deliberately
mild effect.
Non-euphemistic is the usage of a word or phrase to replace any word,
not only the unpleasant one.
e.g. Писателями Ренессанса являются Петрарка и автор “Декамерона”
(means Боккаччо) — this is non-euphemistic logical paraphrase.
Я занял лишь третье место, а под акваторией канала звучал гимн Вен-
грии.
The main function is to convey a purely individual perception of the de-
scribed object. To achieve it the generally accepted nomination of the ob-
ject is replaced by the description of one of its features or qualities, which
seems to the author most important for the characteristic of the object and
which thus becomes foregrounded.
e.g. “She was still fat after childbirth, the destroyer of her figure sat at the
head of the table.” (A. Bennette)
22
“He would make money and then he would come back and marry his dream
from Blackwood.” (Th. Dreiser)
“Naturally, I jumped out of the tub and before I had thought twice, ran out
into the living room in my birthday suit.” (B. Malamud)
PECULIAR USE OF SET-PHRASES
Set expressions are divided into:

1. Clichés;
2. Proverbs and sayings;
3. Epigrams;
4. Quotations;
5. Allusions.
A cliché is an expression that has become hackneyed and trite. It has
lost originality, ingenuity and impact by long over-use.
e.g. heart to heart, heart of the matter, rosy dreams of youth, armed to the
teeth, a bee in the bonnet, first cuckoo of spring, cherished dreams, at death’s
door.
Proverbs and sayings are brief statements showing in condensed form
the accumulated life experience of the community and serving as conven-
tional practical symbols for abstract ideas.
e.g. Early to bed and early to rise, makes a man healthy, wealthy and wise.
Who chatters to you, will chatter of you. All is well, that ends well.
Out of sight, out of mind. First come, first served.
Epigrams — are stylistic devices akin to a proverb, the only difference
being that the epigrams are coined by individuals whose names we know
while proverbs are the coinage of the people. Epigrams are terse, witty,
pointed statements.
e.g. “A God that can be understood is no God.” (W. S. Maugham)
“A things of beauty is a joy forever.” (J. Keats)
“In the days of old men made manners, Manners now make men.” (G. Byron,
Don Juan)
“Much ado about nothing.” “To be or not to be.” (W. Shakespeare).
Quotation is a repetition of a phrase or statement from a book, speech
used by way of authority, illustration, proof or as a basis for further specu-
23
lation on the matter in hand. By repeating a passage we attach to the utter-
ance an importance it might not have had in the context whence it was tak-
en.
e.g. “Socrates said, our only knowledge was to know that nothing could be
known.”
“Fast and furious” — this cliché is a quotation form R. Burns.
An allusion is an indirect reference, by word or phrase, to a historical,
literary, mythological, biblical fact or to a fact of everyday life made in the
course of speaking or writing. As a rule no indication of the source is giv-
en. This is the notable difference between quotation and allusion.
e.g. In the newspaper headline there is a line “Pie in the sky for the railmen”
(Daily Worker).
Most people in Britain and in the USA know the refrain of the workers’ song
“You’ll get pie in the sky when you die”.
STYLISTIC DIFFERENTIATION
OF THE ENGLISH VOCABULARY
The word-stock of any language is presented as a system, the elements

of which are interconnected, interrelated and yet independent.
The whole word-stick of the English language is divided into three main
layers:
1. The literary layer (e.g., an infant).
2. The neutral layer (or basic vocabulary) (a child).
3. The colloquial layer (a kid).
Neutral: father, literary: parent, colloquial: daddy.
Examples of synonyms of different layers: (continue — retire — go on.
TV — television — the box. Policeman — police officer — cop).
The examples of synonymic sentences written in different styles:
1. Neutral style: The old man is dead — Старик умер.
2. Colloquial style: The old bean has kicked the bucket. — Старый
хрыч подох.
3. The bookish style: The gentleman well advanced in years attained
the termination of his terrestrial existence. — Старец скончался.
The common literary, neutral and colloquial words are grouped under
the term “Standard English vocabulary”.
24
Non-common literary and colloquial words are regarded as special liter-
ary vocabulary or special colloquial vocabulary.
Neutral words form the bulk of the English vocabulary. They don’t have
a special stylistic colouring. They are the main source of synonymy and
polysemy. They can be employed in all styles of language and in all
spheres of human activity.
As for the literary words, they are chiefly used in writing and in pol-
ished speech. They include general literary words (bookish) and special
literary words (archaisms, foreignisms, poetic words, terms (medical, bio-
logical, linguistic) and neologisms. they stand in opposition to colloquial
words.
The colloquial language is greatly penetrating into the neutral and literal
language now. The reason of frequent use of the colloquial language is the
lack of concern for the aesthetic aspect of lingual behaviour. But originally
colloquial words are used in spoken English.
Colloquial words are divided into:
1) Slang (language peculiar to a particular group, highly emotive and
expressive)
e.g. “to get a date”, a frog-eater = Frenchman
2) Jargonisms (The words belonging to a special social group: the jar-
gon of thieves, the jargon of jazz people, the jargon of army)
3) Vulgarisms. They are swear words of abusive character and four-
letter words.
e.g. Damn, bloody, hell, goddamn, devil etc.
4) Dialectical words which show the place of birth (“lass” means “a
girl”; “lad” — means “a boy” in the north of Scotland.)
FUNCTIONAL STYLES OF THE ENGLISH LANGUAGE
There are five main functional styles in the English language.

1. Belles-lettres style.
2. Official style or style of official documents.
3. Newspaper style.
4. Scientific style.
5. Publicistic style.
The Belles-Lettres Style is the style the purpose of which is not to
prove but only to suggest a possible interpretation of the phenomenon of
25
life by forcing the reader to see the viewpoint of the writer and also to call
forth a feeling of pleasure from the contents.
The following texts belong to Belles-Lettres Style:
1) Drama; 2) Poetry; 3) Prose which can exist in different texts: novel,
short story (рассказ), story, novella.
The main genres are psychological, social, detective, historical, docu-
mentary, adventure and science fiction.
This style is a) aesthetic (calls forth a feeling of pleasure); b) formal but
any elevations can be; c) prepared very carefully, greatly (many versions
can exist); d) written.
Individual Style
This style doesn’t enter the main classification of styles. It is included
into belles-lettres style. Every writer has his own style. Individual style is a
unique combination of language units, expressive means and stylistic de-
vices peculiar to a given author, which makes writer’s works or even utter-
ances easily recognizable. (I. R. Galperin)
The signals of the author’s individuality are:
The signals of the author’s individuality are:
1) Choice of theme (e.g. relations between parents and children);
2) Problem (e.g. the last generation of war, the social revolution);
3) System of artistic images (the colouring of these images is very spe-
cific.
For E. Hemingway rain means misfortune, sorrow, something negative.
For F. Fitzgerald rain means clean, bright love, something positive).
4) Composition of the text (e.g. implication of foreknowledge (начало
с середины). It gives the imitation of close relations between the author
and the reader.
5) Language (There are different expressive means and stylistic devices
favoured by the definite writers).
Publicistic style is the style the aim of which is to exert to constant and
deep influence on public opinion to convince the reader or the listener that
the interpretation given by the writer or the speaker is the only correct one
and cause him to accept through logical argument but through emotional
appeal.
The following texts belong to the Publicistic Style:
1. Essays (moral, philosophic, literature);
2. Feature article;
3. Oratory (public speeches);
26
4. Pamphlets.
Publicistic style is 1) informative and persuasive (to persuade openly on
the intellectual and emotional levels); 2) formal; 3) prepared; 4) written
beforehand.
Main features:
1. Lexical level:
a) combination of logical and emotive appeal (emotive words, eval-
uative words);
b) generally colloquial words;
c) proverbs;
d) 1st person narration.
2. Syntactical level:
a) parallelism (to make the speech more fluent, more rhythmically
organized);
b) rhetorical questions;
c) other figures of speech (inversion, suspense).
Official style is the style the aim of which is to state the condition bind-
ing two parties into one.
The following texts belong to the official style:
1) Legal documents (a will, contract, marriage contract, birth or death
certificate, license); 2) Governmental issues (Constitution, amendments);
3) Decrees; 4) Edicts; 5) Treaties; 6) Code of laws; 7) Agreement, Pact,
Note; 8) Business correspondence; 9) Memorandum; 10) Minutes; 11) Ap-
plication; 12) Receipt; 13) Report.
Official style is: 1) prescriptive; 2) informative; 3) highly formal;
4) prepared, written.
The special features of official style are:
1. Graphical level: special layout.
2. Morphological level: long words.
3. Lexical level:
a) archaisms (e.g. hereby, therein, fore mentioned); b) clichés (e.g.
Hear! Hear! — Слушайте! (Речь в парламенте), Chair! (если не нравит-
ся речь); c) no colloquial words, no emotive words, no synonyms, no am-
biguous words; d) abbreviations; e) shortenings; f) conventional sym-
bols; g) contractions.
4. Syntactical level: long sentences with parallel constructions.
5. Textual level: no ambiguity, no implication.
All words in official documents are used in direct, logical meanings.
The only exceptions are opening and closing phrases of the official corre-
27
spondence with the expression of respect and readiness to serve and to
please.
Newspaper style is defined as a system of interrelated lexical, phraseo-
logical and grammatical means which is perceived by the community as a
separate linguistic unity that serves the purpose of informing and instruct-
ing the reader.
The following texts belong to the newspaper style:
1) Information materials (articles);
2) Editorials;
3) Advertisements;
4) Announcements.
This style is: 1) informative, 2) formal, 3) prepared, 4) written.
The main features:
1. Graphical level:
a) special print,
b) narrow columns,
c) shortening of sentences and paragraphs;
2. Morphological level: short or abbreviated words;
3. Lexical level:
a) a great number of proper names (names of people, organizations,
books);
b) lots of dates;
c) lots of figures;
d) clichés,
e) generally known terms (sport terms, medicine term),
f) trite tropes,
g) play on words (especially in headlines),
h) evaluative words.
a) short sentences because of the special graphic layout,
b) trite figures of speech.
Scientific style is the style the language of which is governed by the
aim of functional style of scientific prose which is to prove a hypothesis, to
create new concepts, to disclose the internal law of existence, develop-
ment, relations between different phenomena.
The following texts belong to it:
1) article in a magazine or a journal; 2) monograph (a bulky book writ-
ten by 1 author); 3) thesis and dissertation; 4) abstracts in which the infor-
28
mation is given in a very condensed form; 5) scientific reports; 6) text-
books.
The style is: Informative, persuasive. It comes to us through logic and
intellect. It is formal, professional (the degree of the knowledge may be
different but everything refers to one and the same sphere). It is prepared,
mainly written.
Features of the scientific style:
1. The lowest level is graphical level:
a) types of print (the definitions are printed in bold type. The key-
words and material for memorizing are printed in bold type too. Some-
times the petite is used. It is for the illustration of the main thing which is
presented in a usual print);
b) layout (It is different from the artistic texts, it’s more dense. There
is no dialogue and there are more signs);
2. Morphemic level:
a) Latin affixes;
b) long words of many morphemes.
3. Lexical level:
a) terms, many of them are international;
b) foreign words: i.e. — id est (то есть), apriori — posteriori;
c) connectives (to persuade a person through logical argumentation);
d) colloquial words or emotive words are very few.
a) complex sentences;
b) passive and impersonal constructions.
5. Textual level:
a) division into parts (subdivisions);
b) a lot of footnotes and commentary to the text;
c) acknowledgements.
The author’s individuality is not evident in the style because personal
feelings and emotions are not allowed here.
29
SEMINARS
SEMINAR I
Subject-Matter of Stylistics. Language Style.
Phono-Graphical Level
I. Consider your answers to the following questions.

1. What is stylistics? What tasks does it deal with? What does the
word “style” mean? What is called a stylistic device? What are expressive
means? What do we mean by stylistic analysis of the text? What is an “In-
dividual style of a writer”? What is the norm of the standard literary lan-
guage? How many levels for stylistic analysis can you name?
2. What is the main spring of phono-graphical stylistic device? How is
phoneme represented in a written version?
3. What stylistic devices belong to phonemic level?
4. What is understood by onomatopoeia? What variants of onomato-
poeia exist? Give examples. What is another name for onomatopoeia?
5. What types of deliberate repetition of phonemes do you know?
What is the purpose of their usage?? Which of them is used more often?
What are the roots of these devices? Give examples.
6. What devices are used mainly in poetry? What is euphony? What is
cacophony?
7. What are the purely phonetic stylistic devices?
8. What are the purely graphic stylistic devices?
9. What are the purposes of the usage of different kinds of print in the
text?
10. What is understood by the notion “graphon”? What information can
the reader get by means of graphon?
II. Analyse the following examples and name the cases of alliteration
and assonance. Prove your choice.
1. Tenderly bury the fair young dead. (La Costa)
2. No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world, that I am fled
From this vile world with vilest worms to dwell. (W. Shakespeare)
30
3. He felt his big horse’s chest surging with the steeping of the slope
and saw the gray neck stretching. (E. Hemingway)
4. Deep into the darkness peering, long I stood there wondering, fear-
ing,
Doubting, dreaming dreams no mortals ever dared to dream before.
(E. A. Poe)
5. Gaunt as the ghastliest of glimpses that gleam through the gloom of
the gloaming when ghosts go aghast. (Swinburn)
6. Tell this soul, with sorrow laden, if within the distant Aiden,
I shall clasp a sainted maiden, whom the angles name Lenore —
Clasp a rare and radiant maiden, whom the angles name Lenore?
(E. A. Poe)
III. Name the graphic stylistic devices used in the following passages.
Define the purpose of their usage.
1. “AS-I-WAS-SAYING”, said Eeyore loudly and sternly, “as I was
saying when I was interrupted by various loud sounds, I felt that —
BANG!!!??? (Winnie-the-Pooh by A. Milne)
2. Of course you can go — if you had to go, but I would advise you to
stay and wait till the end of the investigation.
3. I know, I know the policemen said it wasn’t YOUR fault. But I don’t
know either WHOSE fault it was.
4. A door had opened; words articulated themselves “Bien tort, mon
ami, si tu crois que je suis ton esclave. Je ferai ce que je voudrai.” “Mon
aussi,” — Monsieur uttered a harsh, dangerous laugh.
5. Edna jumped from the car and as she jumped she shrieked: “WHERE
IS MY BABY?” — “I never saw thee baby, ma’am,” said the maiden.
6. He climbed
and
he climbed,
and
he climbed,
and
as he climbed,
he sang
a little song
to himself.
(Winnie-the-Pooh by A. Miln)
31
IV. Find the cases of onomatopoeia in the following sentences. What is
the purpose of their usage?
1. And the silken, sad, uncertain rustling of each purple curtain.
(E. A. Poe)
2. Silver bells … how they tinkle, tinkle, tinkle …
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells, bells, bells, bells
From the jingling and the tinkling of the bells. (E. A. Poe)
3. We’re foot-slog-slog-slog-slogging over Africa —
Foot-foot-foot-foot-slogging over Africa.
Boots-boots-boots-boots-moving up and down again. (“Boots” by
R. Kipling)
4. The water was bubbling and splashing, this prevented him from con-
centration on his work
5. The bee was buzzing so loudly that she awoke and jumped out of the
bed thinking that it was an alarm signal.
6. In the street he heard somebody’s piercing whistle and when he
turned around a boy in dirty trousers giggled loudly and rushed into the
lane.
V. Read the text below, examine it and give the stylistic analysis of the
text.
1. Identify the functional style and genre of the text, speak on the com-
positional form of the text and the theme.
2. Comment on the length and purpose of paragraphs.
3. Speak on how the text begins and ends, how the material is orga-
nized.
4. Name the stylistic devices used to hold the reader’s attention
throughout the text. Speak on their appropriateness. Pay special attention
to the stylistic effect of the phonetical and graphical means.
5. Characterize the vocabulary and say if the text is emotional. If it is
so, list the emotionally coloured words. Explain the reason of their usage.
6. Express your opinion if the writer has succeeded in arousing the
reader’s interest? What is the relevance of the concluding sentences to
your mind?
32
Text for Analysis
Alan Alexander Milne

WINNIE-THE-POOH
Chapter I…
in which we are introduced to Winnie-the-Pooh
and some bees, and the stories begin
Here is Edward Bear, coming downstairs now, bump, bump, bump, on

the back of his head, behind Christopher Robin. It is, as far as he knows,
the only way of coming downstairs, but sometimes he feels that there real-
ly is another way, if only he could stop bumping for a moment and think of
it. And then he feels that perhaps there isn’t. Anyhow, here he is at the bot-
tom, and ready to be introduced to you. Winnie-the-Pooh.
When I first heard his name, I said, just as you are going to say, “But I
thought he was a boy?”
“So did I,” said Christopher Robin. “Then you can’t call him Winnie?”
“I don’t.” “But you said—
“He’s Winnie-ther-Pooh. Don’t you know what ‘ther’ means?”
“Ah, yes, now I do,” I said quickly; and I hope you do too, because it is
all the explanation you are going to get.
Sometimes Winnie-the-Pooh likes a game of some sort when he comes
downstairs, and sometimes he likes to sit quietly in front of the fire and lis-
ten to a story. This evening—
“What about a story? said Christopher Robin.
“What about a story?” I said.
“Could you very sweetly tell Winnie-the-Pooh one?”
“I suppose I could,” I said. “What sort of stories does he like?”
“About himself. Because he’s that sort of Bear.”
“Oh, I see.”
“So could you very sweetly?”
“I’ll try,” I said. So I tried.
33
Once upon a time, a very long time ago now, about last Friday, Winnie-
the-Pooh lived in a forest all by himself under the name of Sanders.
(“What does ‘under the name’ mean?” asked Christopher Robin. “It
means he had the name over the door in gold letters, and lived under it.”
“Winnie-the-Pooh wasn’t quite sure,” said Christopher Robin. “Now I
am,” said a growly voice. “Then I will go on,” said I.)
One day when he was out walking, he came to an open place in the
middle of the forest, and in the middle of this place was a large oak-tree,
and, from the top of the tree, there came a loud buzzing-noise.
Winnie-the-Pooh sat down at the foot of the tree, put his head between
his paws and began to think.
First of all he said to himself: “That buzzing-noise means something.
You don’t get a buzzing-noise like that, just buzzing and buzzing, without
its meaning something. If there’s a buzzing-noise, somebody’s making a
buzzing-noise, and the only reason for making a buzzing-noise that know
of is because you’re a bee.”
Then he thought another long time, and said: “And the only reason for
being a bee that I know of is making honey.”
And then he got up, and said: “And the only reason for making honey is
so as I can eat it.” So he began to climb the tree.
He climbed
and
he climbed
and
he climbed,
and as
he climbed
he sang
a little song
to himself.
It went like this:
Isn’t it funny
how a bear likes honey?
Buzz! Buzz! Buzz! Buzz!
I wonder why he does?
Then he climbed a little further … and a little further … and then just a
little further. By that time he had thought of another song.
It’s a very funny thought that, if Bears were Bees,
34
They’d build their nests at the bottom of trees.
And that being so (if the Bees were Bears),
We shouldn’t have to climb up all these stairs.
He was g e t t i n g rather tired by this time, so that is why he sang a
Complaining Song. He was nearly there now, and if he j u s t stood on
that branch… Crack!
“Oh, help!” said Pooh, as he dropped ten feet on the branch below him.
“If only I hadn’t—” he said, as he bounced twenty feet on to the next
branch.
“You see, what I meant to do,” he explained, as he turned head-over-
heels, and crashed on to another branch thirty feet below, “what I meant to
do—”
“Of course, it was rather—” he admitted, as he slithered very quickly
through the next six branches.
“It all comes, I suppose,” he decided, as he said good-bye to the last
branch, spun round three times, and flew gracefully into a gorse-bush, “it
all comes of liking honey so much. Oh, help!”
He crawled out of the gorse-bush, brushed the prickles from his nose,
and began to think again. And the first person he thought of was Christo-
pher Robin.
(“Was that me?” said Christopher Robin in an awed voice, hardly dar-
ing to believe it. “That was you.”)
Christopher Robin said nothing, but his eyes got larger and larger, and
his face got pinker and pinker.
So Winnie-the-Pooh went round to his friend Christopher Robin, who
lived behind a green door in another part of the forest.
“Good morning, Christopher Robin,” he said.
“Good morning, Winnie-ther-Pooh,” said you.
“I wonder if you’ve got such a thing as a balloon about you?”
“A balloon?”
“Yes, I just said to myself coming along: ‘I wonder if Christopher Robin
has such a thing as a balloon about him?” I just said it to myself, thinking
of balloons, and wondering.”
“What do you want a balloon for?” you said.
Winnie-the-Pooh looked round to see that nobody was listening, put his
paw to his mouth, and said in a deep whisper: “Honey!”
“But you don’t get honey with balloons!”
“I do,” said Pooh.
35
Well, it just happened that you had been to a party the day before at the
house of your friend Piglet, and you had balloons at the party. You had had
a big green balloon; and one of Rabbit’s relations had had a big blue one,
and had left it behind, being really too young to go to a party at all; and so
you had brought the green one and the blue one home with you.
“Which one would you like?” you asked Pooh.
He put his head between his paws and thought very carefully.
“It’s like this,” he said. “When you go after honey with a balloon, the
great thing is not to let the bees know you’re coming. Now, if you have a
green balloon, they might think you were only part of the tree, and not no-
tice you, and if you have a blue balloon, they might think you were only
part of the sky, and not notice you, and the question is: Which is most like-
ly?”
“Wouldn’t they notice you underneath the balloon?” you asked.
“They might or they might not,” said Winnie-the-Pooh. “You never can
tell with bees.” He thought for a moment and said: “I shall try to look like
a small black cloud. That will deceive”.
“Then you had better “have the blue balloon,” you said; and so it was
decided.
Well, you both went out with the blue balloon, and you took your gun
with you, just in case, as you always did, and Winnie-the-Pooh went to a
very muddy place that he knew of, and rolled and rolled until he was black
all over; and then, when the balloon was blown up as big as big, and you
and Pooh were both holding on to the string, you let go suddenly, and Pooh
Bear floated gracefully up into the sky, and stayed there — level with the
top of the tree and about twenty feet away from it.
“Hooray!’ you shouted.
“Isn’t that fine?” shouted Winnie-the-Pooh down to you. “What do I
look like?”
“You look like a Bear holding on to a balloon,” you said.
“Not,” said Pooh anxiously, “—not like a small black; cloud in a blue
sky?”
“Not very much.”
“Ah, well, perhaps from up here it looks different. And, as I say, you
never can tell with bees.” There was no wind to blow him nearer to the
tree, so there he stayed. He could see the honey, he could smell the honey,
but he couldn’t quite reach the honey. After a little while he called down to
you. “Christopher Robin!” he said in a loud whisper.
“Hallo!”
36
“I think the bees suspect something’”
“What sort of thing?”
“I don’t know. But something tells me that they’re suspicious!”
“Perhaps they think that you’re after their honey.”
“It may be that. You never can tell with bees.” There was another little
silence, and then he called down to you again. “Christopher Robin!”
“Yes?”
“Have you an umbrella in your house?”
“I think so.” “I wish you would bring it out here, and walk up and down
with it, and look up at me every now and then, and say Tut-tut, it looks like
rain.’ I think, if you did that, it would help the deception which we are
practising on these bees.”
Well, you laughed to yourself, “Silly old Bear!” but you didn’t say it
aloud because you were so fond of him, and you went home for your um-
brella.
“Oh, there you are!” called down Winnie-the-Pooh, as soon as you got
back to the tree. “I was beginning to get anxious. I have discovered that the
bees are now definitely Suspicious.”
“Shall I put my umbrella up?” you said. “Yes, but wait a moment. We
must be practical. The important bee to deceive is the Queen Bee. Can you
see which is the Queen Bee from down there
“No.”
“A pity. Well, now, if you walk up and down with your umbrella, saying,
‘Tut-tut, it looks like rain,’ I shall do what I can by singing a little Cloud
Song, such as a cloud might sing…. Go!”
So, while you walked up and down and wondered if it would rain, Win-
nie-the-Pooh sang this song:
How sweet to be a Cloud
Floating in the Blue!
Every little cloud
Always sings aloud.
“How sweet to be a Cloud
Floating in the Blue!”
It makes him very proud
To be a little cloud.
The bees were still buzzing as suspiciously as ever. Some of them, in-
deed, left their nests and flew all round the cloud as it began the second
verse of this song, and one bee sat down on the nose of the cloud for a
moment, and then got up again.
37
“Christopher — ow! — Robin,” called out the cloud.
“Yes?” “I have just been thinking, and I have come to a very important
decision. These are the wrong sort of bees.”
“Are they?” “Quite the wrong sort. So I should think they would make
the wrong sort of honey, shouldn’t you?”
“Would they?”
“Yes. So I think I shall come down.”
“How?” asked you.
Winnie-the-Pooh hadn’t thought about this. If he let go of the string, he
would fall — bump — and he didn’t like the idea of that. So he thought for
a long time, and then he said:
“Christopher Robin, you must shoot the balloon with your gun. Have
you got your gun?”
“Of course I have,” you said. “But if I do that, it will spoil the balloon,”
you said.
“But if you don’t,” said Pooh, “I shall have to let go, and that would
spoil me.”
When he put it like this, you saw how it was, and you aimed very care-
fully at the balloon, and fired. “Ow!” said Pooh.
“Did I miss?” you asked.
“You didn’t exactly miss,” said Pooh, “but you missed the balloon.”
“I’m so sorry,” you said, and you fired again, and this time you hit the
balloon, and the air came slowly out, and Winnie-the-Pooh floated down to
the ground.
But his arms were so stiff from holding on to the string of the balloon all
that time that they stayed up straight in the air for more than a week, and
whenever a fly came and settled on his nose he had to blow it off. And I
think — but I am not sure — that that is why he was always called Pooh.
Test Your Knowledge
I. Match the following notions “style, norm, expressive means, stylistic

devices” with their definitions:
a) a system of concrete use of the phonetic, vocabulary and gram-
matic means of the language, a system which reflects the attitude of the
writer or the speaker to the subject matter of the utterance.
b) conscious and intentional intensifications of some typical struc-
tural and semantic property of a language unit (neutral or expressive) pro-
moted to a generalized status and thus becoming a generative model.
38
c) the invariant of the phonemic, morphological, lexical and syntac-
tical patterns circulating in language-in-action at a given period of time.
d) phonetic, morphological, word-building, lexical, phraseological
and syntactical forms which exist in language-as-a-system for the purpose
of logical and emotional intensification of the utterance.
II. Decide what linguistic science (phonetics, lexicology, grammar) is

connected with the investigation of:
a) vocabulary, expressiveness of semantic structure of words, seman-
tic relations between words;
b) special structure of sentences, utterances, texts;
c) emotional expressiveness of sound repetition, stresses, articula-
tion, rhyme, rhythm, intonation.
III. What is the origin of the term “Stylistics”?

a) a wax tablet;
b) a short stick of wood used by the Romans for writing on wax tablets;
c) a short sharp pen.
IV. Name five main functional styles of the English language.
V. Identify the examples of alliteration in the following sentences.

a) Jack and Jill went up the hill.
b) Mary had a little lamb.
c) The rising world of waters dark and deep.
d) Pick up a Penguine!
VI. Identify the examples of assonance in the following sentences

a) Find a bin to put it in.
b) We awaited a belated train.
c) We’ll croon in tune, beneath the moon.
d) Abracadabra! The magic spell is upon upon you!
VII. Identify the examples of onomatopoeia in the following sentences:

a) The beez were buzzing around the hive.
b) The whispered the secret to her friend.
c) Splish! Splash! I was taking a bath.
d) By the end of the race he was gasping for breath.
39
VIII. Name the graphic stylistic devices in the following sentences.
a) The trouble with the kitten is THAT eventually it becomes a CAT.
b) “Wassa matter?” — “I dunno.”
c) Full fathom five thy father lies. (W. Shakespeare)
d) He’s seen me c-c-c-coming.
IX. Name expressive means and stylistic devices and group them as fol-
lows:
Expressive means: a) phonetic, b) morphological, c) lexical, d) syntactic,
e) graphic.
Stylistic devices: a) phonetic, b) lexical, c) syntactic.
X. Decide what style a) newspaper, b) scientific, c) publicistic is repre-

sented in the following extract:
In other words, education is the instruction of the intellect in the laws of
nature, under which name I include not merely things and their forces, but
men and their ways, and the fashioning of the affections and of the will in-
to an earnest and loving desire to move in harmony with those laws.
40
SEMINAR II
Lexical Level

1. What are tropes? Name the most important ones. What is under-
stood by the figurative meaning of the word?
2. What stylistic device deals with the speaking names? Give exam-
ples.
3. What is the difference between metaphor and metonomy? Name
their types. Give examples.
4. What is the lexical stylistic device called zoosemy? What is person-
ification?
5. What is understood by irony? How is the bitter irony called?
6. How can one distinguish between zeugma and pun?
7. What are the main characteristics of hyperbole?
8. What do we understand by “epithets”? How are they classified? Are
all the adjectives in the text considered epithets?
9. What is meant by oxymoron? Give examples.
10. What types of violation of phraseological unit do you know?
II. Find cases of antonomasia in the following sentences. Define their

types.
1. She knew this man he was a real Don Juan — never missing any
skirt: long or short, luxuriant or plain.
2. “Shut up, Reg,” he said “Damn your Rawston and all the other
bloody little satanic nihilist heroes wreaking their puking little vengeance
on Society. What better are they than a lot of damned Don Juans or
Rastignacs or Sorels or the rest of the romantic rubbish?”
3. Don’t be a Romeo. Our time doesn’t need such people. It needs terse
and tough guys who won’t die because of such rubbish as love.
4. I say this to our American friend. Mr. Facing-Both-Ways does not get
very far in this world.
5. I suspect that the Noes and Don’t Knows would far outnumber the
Yesses.
6. Society is now one polished horde, formed of two mighty tribes, the
Bores and the Bored.
41
III. Classify the following epithets according to their semantic and
structural standpoints.
1) Watery eyes, 2) lean, handsome face, 3) summer-meadow dress, 4) a
large blob of a nose, 5) the tiny box of a kitchen, 6) take-all-you-can-get
approach, 7) I-did-it-myself shelf, 8) sun-kissed fruit, 9) money-saving
tips, 10) I-don’t-want-to-do-anything feeling, 11) formidable waves, 12)
head-to-toe beauty, 13) destructive charms, 14) a wonderful, cruel, en-
chanting and fatal city, 15) apple-faced person.
IV. Explain the logical associations in the following groups of meaning

for the same words. Define the type of transference which has taken place.
1. 1) The wing of a bird — the wing of a building, 1) the eye of a
man — the eye of a needle, 3) the hand of a child — the hand of a clock,
4) the heart of a man — the heart of the matter, 5) the bridge across the
river — the bridge of the nose, 6) the tongue of a person — the tongue of a
bell, 7) the tooth of a boy — the tooth of a comb, 8) the coat of a girl —
the coat of a dog.
2. 1) Green grass — green years, 2) black shoes — black despair, 3)
nickel (metal) — a nickel (coin), 4) glass — a glass, 5) copper (metal)– a
copper (coin), 6) Ford (proper name) — a Ford — (car), 7) Damascus
(town in Syria) — damask, 8) Kashmir (town in North India) — cashmere.
V. Analyse the process of development of new meanings in the itali-

cized words in the examples given below.
1. I put the letter well into the mouth of the box and let it go and it fell
turning over and over like an autumn leaf. 2. Those who had been the head
of the line paused momentarily on entry and looked around curiously. 3. A
cheerful-looking girl in blue jeans came up to the stairs whistling. 4. Seat-
ed behind a desk, he wore a light patterned suit, switch from his usual
tweeds. 5. Oh, Steven, I read a Dickens the other day. It was awfully funny.
6. They sat on the rug before the fireplace, savouring its warmth, watching
the rising tongues of flame. 7. He inspired universal confidence and had an
iron nerve. 8. A very small boy in green jersey with light red hair cut
square across his forehead was peering at Steven between the electric fire
and the side of the fireplace. 9. While the others were settling down, Lucy
saw Pearson take another bite from his sandwich. 10. As I walked noncha-
lantly past Hugo’s house on the other side they were already carrying out
the Renoirs.
42
VI. Read the following example:
“As he spoke, so lightly, tapping the end of his cigarette against the ash-
tray, she felt the strange beast that had slumbered so long within her bosom
stir, stretch itself, yawn, prick up its ears, and suddenly bound to its feet
and fix its long hungry stare upon those far away places”.
Look at the interpretation of this extract:
“In this extract, what she wants from life is compared to a strange beast,
a magnificent animal that even she doesn’t understand well. The extract
contains a metaphor which suggests that what she wants from life has been
for some time suppressed, but that it is something that can not be tamed or
controlled permanently. It is something that needs to have its appetite satis-
fied.”
Do you agree with this interpretation? Is there anything you would add
or take away?
Write an interpretation of the following extracts similar to the first one.
1. “ What I really wanted then, … was to be a sort of carpet — to make
myself into a sort of carpet for you to walk on so that you need not be hurt
by the sharp stones and the mud that you hated so…Only I did desire,
eventually, to turn into a magic carpet and carry you away to all those
lands you longed to see.”
2. “In the past when they had looked at each other like that they had felt
such a boundless understanding between them that their souls had, as it
were, put their arms round each other and dropped into the same sea, con-
tent to be drowned, like mournful lovers.”
VII. Read the text below, examine it and give the stylistic analysis of
the text.
nized.
throughout the text. Speak on their appropriateness.
your mind?
43
Text for Analysis
Lewis Carroll
ALICE IN WONDERLAND
Chapter V
Advice from a Caterpillar
The Caterpillar and Alice looked at each other in si-

lence: at last the Caterpillar took the hookah out of its
mouth, and addressed her in a languid, sleepy voice.
“Who are you?” said the Caterpillar. This was not an
encouraging opening for a conversation. Alice replied
rather shyly, “I — I hardly know, sir, just at present —
at least I know who I was when I got up this morning,
but I think I must have been changed several times since
then.”
“What do you mean by that?” said the Caterpillar sternly. “Explain
yourself.”
“I cannot explain myself, I’m afraid, sir,” said Alice, “because I’m not
myself, you see.”
“I don’t see,” said the Caterpillar.
“I’m afraid I can’t put it more clearly,” Alice replied very politely, “for I
can’t understand it myself to begin with; and being so many different sizes
in a day is very confusing.”
“It isn’t,” said the Caterpillar.
“Well, perhaps you haven’t found it so yet,” said Alice; “but when you
have to turn into a chrysalis — you will some day, you know — and then
after that into a butterfly, I should think you’ll feel it a little queer, won’t
you?”
“Not a bit,” said the Caterpillar.
“Well, perhaps your feelings may be different,” said Alice; “all I know
is, it would feel very queer to me.”
“You!” said she Caterpillar contemptuously. “Who are you?”
Which brought them back again to the beginning of the conversation.
Alice felt a little irritated at the Caterpillar’s making such very short re-
marks, and she drew herself up and said, very gravely, “I think you ought
to tell me who you are, first.”
“Why?” said the Caterpillar.
44
Here was another puzzling question; and, as Alice could not think of any
good reason, and as the Caterpillar seemed to be in a very unpleasant state
of mind, she turned away.
“Come back!” the Caterpillar called after her. “I’ve something important
to say!”
This sounded promising, certainly Alice turned and came back again.
“Keep your temper,” said the Caterpillar.
“Is that all?” said Alice, swallowing down her anger as well as she
could.
“No,” said the Caterpillar.
Alice thought she might as well wait, as she had nothing else to do, and
perhaps after all it might tell her something worth hearing. For some
minutes it puffed away without speaking, but at last it unfolded its arms,
took the hookah out of its mouth again, and said, “So you think you’re
changed, do you?”
“I’m afraid I am, sir,” said Alice; “I can’t remember things as I used —
and I don’t keep the same size for ten minutes together!”
“Can’t remember what things?” said the Caterpillar.
“Well, I’ve tried to say ‘How doth the little busy bee,’ but it all came dif-
ferent!” Alice replied in a very melancholy voice.
“Repeat ‘You are old. Father William,” said the Caterpillar.
Alice folded her hands, and began:
‘You are old. Father William,’ the young man said,
And your hair has become very white;
And yet you incessantly stand on your head—
Do you think, at your age, it is right?’…
“That is not said right,’’ said the Caterpillar.
“Not quite right, I’m afraid,” said Alice timidly; “some of the words
have got altered.”
“It is wrong from beginning to end,” said the Caterpillar decidedly, and
there was silence for some minutes.
The Caterpillar was the first to speak. “What size do you want to be?” it
asked.
“Oh, I’m not particular as to size,” Alice hastily replied; “only one
doesn’t like changing so often, you know.”
“I don’t know,” said the Caterpillar.
Alice said nothing: she had never been so much contradicted in all her
life before, and she felt that she was losing her temper. “Are you content
now?” said the Caterpillar.
45
“Well I should like to be a little larger, sir, if you wouldn’t mind,” said
Alice: “three inches is such a wretched height to be.”
“It is a very good height indeed!” said the Caterpillar angrily, rearing it-
self upright as it spoke (it was exactly three inches high).
“But I’m not used to it!” pleaded poor Alice in a piteous tone. And she
thought to herself, “I wish the creatures wouldn’t be so easily offended!”
“You’ll get used to it in time,” said the Caterpillar; and it put the hookah
into its mouth and began smoking again.
This time Alice waited patiently until it chose to speak again. In a mi-
nute or two the Caterpillar took the hookah out of its mouth and yawned
once or twice, and shook itself. Then it got down off the mushroom, and
crawled away into the grass, merely remarking as it went, “One side will
make you grow taller, and the other side will make you grow shorter.”
“One side of what? The other side of what?’’’ thought Alice to herself.
“Of the mushroom,” said the Caterpillar just as if she asked it aloud; and
in another moment it was out of sight.
Alice remained looking thoughtfully at the mushroom for a minute try-
ing to make out which were the two sides of it; and, as it was perfectly
round, she found this a very difficult question. However, at last she
stretched her arms round it as far as they would go, and broke off a bit of
the edge with each hand.
“And now which is which?” she said to herself, and nibbled a little of
the right-hand bit to try the effect. The next moment she felt a violent blow
underneath her chin; it had struck her foot! She was a good deal frightened
by this very sudden change, but she felt that there was no time to be lost,
as she was shrinking rapidly; so she set to work at once to eat some of the
other bit. Her chin was pressed so closely against her foot, that there was
hardly room to open her mouth; but she did it at last, and managed to swal-
low a morsel of the left-hand bit.
“Come, my head’s free at last!” said Alice in a tone of delight, which
changed into alarm in another moment, when she found that her shoulders
were nowhere to be found: all she could see, when she looked down, was
an immense length of neck, which seemed to rise like a stalk out of a sea
of green leaves that lay far below her.
“What can all that green stuff be?” said Alice. “And where have my
shoulders got to? And oh, my poor hands, how is it I can’t see you?” She
was moving them about as she spoke, but no result seemed to follow, ex-
cept a little shaking among the distant green leaves.
46
As there seemed to be no chance of getting her hands up to her head, she
tried to get her head down to them, and was delighted to find that her neck
would bend about easily in any direction, like a serpent. She had just suc-
ceeded in curving it down into a graceful zigzag, and was going to dive in
among the leaves, which she found to be nothing but the tops of the trees
under which she had been wandering, when a sharp hiss made her draw
back in a hurry; a large pigeon had flown into her face, and was beating
her violently with its wings.
“Serpent!” screamed the Pigeon.
“I’m not a serpent!” said Alice indignantly. “Let me alone!”
“Serpent, I say again!” repeated the Pigeon, but in a more subdued tone,
and added with a kind of sob, “I’ve tried every way, and nothing seems to
suit them!”
“I haven’t the least idea what you’re talking about,” said Alice.
“I’ve tried the roots of trees, and I’ve tried banks, and I’ve tried hedg-
es,” the Pigeon went on, without attending to her; “but those serpents!
There’s no pleasing them!”
Alice was more and more puzzled, but she thought there was no use in
saying anything more till the Pigeon had finished.
“As if it wasn’t trouble enough hatching the eggs,” said the Pigeon, “but
I must be on the lookout for serpents night and day! Why, I haven’t had a
wink of sleep these three weeks!”
“I’m very sorry you’ve been annoyed,” said Alice, who was beginning
to see its meaning.
“And just as I’d taken the highest tree in the wood,” continued the Pi-
geon, raising its voice to a shriek, “and just as I was thinking I should be
free of them at last, they must needs come wriggling down from the sky!
Ugh! Serpent!”
“But I’m not a serpent, I tell you!” said Alice, “I’m a—”
“Well! What are you?” said the Pigeon. “I can see you’re trying to in-
vent something!”
“I — I’m a little girl,” said Alice, rather doubtfully, as she remembered
the number of changes she had gone through that day.
“A likely story indeed!” said the Pigeon in a tone of the deepest con-
tempt. “I’ve seen a good many little girls in my time, but never one with
such a neck as that! No, no! You’re a serpent; and there’s no use denying
it. I suppose you’ll be telling me next that you never tasted an egg!”
“I have tasted eggs, certainly,” said Alice, who was a very truthful child;
“but little girls eat eggs quite as much as serpents do, you know.” “I don’t
47
believe it,” said the Pigeon; “but if they do, why then they’re a kind of ser-
pent, that’s all I can say.”
This was such a new idea to Alice, that she was quite silent for a minute
or two, which gave the Pigeon the opportunity of adding, “You’re looking
for eggs, I know that well enough; and what does it matter to me whether
you’re a little girl or a serpent?”
“It matters a good deal to me,” said Alice hastily; “but I’m not looking
for eggs, as it happens; and if I was, I shouldn’t want yours: I don’t like
them raw.”
“Well, be off”, then!” said the Pigeon in a sulky tone, as it settled down
again into its nest. Alice crouched down among the trees as well as she
could, for her neck kept getting entangled among the branches, and every
now and then she had to stop and untwist it. After awhile she remembered
that she still held the pieces of mushroom in her hands, and she set to work
very carefully, nibbling first at one and then at the other, and growing
sometimes taller and sometimes shorter, until she had succeeded in bring-
ing herself down to her usual height.
It was so long since she had been anything near the right size, that it felt
quite strange at first, but she got used to it in a few minutes, and began
talking to herself as usual. “Come, there’s half my plan done now! How
puzzling all these changes are! I’m never sure what I’m going to be, from
one minute to another! However, I’ve got back to my right size; the next
thing is, to get into that beautiful garden — how is that to be done, I won-
der?” As she said this, she came suddenly upon an open place, with a little
house in it about four feet high. “Whoever lives there,” thought Alice, “it’ll
never do to come upon them this size: why, I should frighten them out of
their wits!” So she began nibbling at the right-hand bit again, and did not
venture near the house till she had brought herself down to nine inches
high.
Test Your Knowledge
Choose the correct variant.

I. Lexical stylistic devices are also called
a) figures of speech
b) tropes
c) speaking names
d) overstatement
48
II. Tropes are expressions in which words are used in the
a) figurative meaning
b) direct meaning
c) vocabulary meaning
d) opposite meaning.
III. Hyperbole is
a) intended to be understood literally
b) not intended to be understood literally
c) intended not to be understood
d) is understood literally
IV. The key stylistic function of understatement (meiosis) is

a) to show exaggeration of the positive characteristics of an object
b) to create a new, more positive characteristics of an object
c) to weaken the positive characteristics of an object
d) to foreground the logical meaning
V. The lexical device which deals with speaking names is called …

a) personification
b) antonomasia
c) metaphor
d) zeugma
VI. Define the expressive means used in the following example:

The sun springs down on the streets and towns.
a) hyperbole
b) personification
c) periphrasis
d) metonymy
VII. Define the expressive means used in the following example:

It was an open secret.
a) irony
b) oxymoron
c) metonymy
d) periphrasis
49
VIII. Define the expressive means used in the following example:
The girls were dressed to kill.
a) irony
b) hyperbole
c) personification
d) metonymy
IX. Which key word creates the metaphor in these statements?

a) The road was a ribbon of moonlight.
b) He was a wizard with figures.
c) Wipe that smile off your face right now.
d) You are my sunshine.
X. Identify any cases of metonymy in the following statements.

a) The pound has risen in strength today against the dollar.
b) It’s about time you put your foot down.
c) The bench has decreed that case be dismissed.
d) Japan is sometimes referred to as the land of the rising sun.
50
SEMINAR III
Syntactical Level

1. What are the figures of speech?
2. What syntactical stylistic device deals with the questions that don’t
require an answer?
3. What is the difference between an ellipsis and incomplete sentence?
4. What are the characteristic features of the aposiopesis? What is an-
other name of this device?
5. What do we understand by inversion? How is it classified?
6. What is meant by detachment? How is parenthesis connected with
it?
7. What units of language can be repeated? Which of them are called
pure repetition? And which of them are called syntactical repetition?
8. How is the repetition divided according to its structure?
9. What is meant by chiasmus? What are the types of it?
10. What is the difference between asyndeton and polysyndeton?
II. When people speak informally, they often leave out words in their
sentences. The resulting sentences are fragment sentences and the listener
must fill in the missing words. Instead of the elliptical sentences given be-
low write the complete sentences that the speaker probably intended to say.
1. You going that for?
2. You live there?
3. Want some wine?
4. Get a new guy… and forget about me?
5. …And she didn’t. Not for three-and-a-half years.
6. Suffered from insomnia?
7. Defeated him completely.
8. Two tickets for London. First-class tickets.
9. Next to nothing.
10. Boundless love between them.
III. Write out from any book you are reading examples which illustrate
the cases of inversion. Name the type. Change the sentences into the ac-
cepted word order.
51
IV. Find cases of detachment in the following sentences. Why do you
think the author separated them? What implication do they carry?
1. Sir Pitt came in first, very much flushed, and rather unsteady in his
gait. (W. Thackeray)
2. Steyne rose up, grinding his teeth, pale, and with fury in his eyes.
(W. Thackeray)
3. She was lovely: all of her — delightful. (T. Dreiser)
4. I want to go, he said, miserable. (J. Galsworthy)
5. June stood in front, fending off this idle curiosity — a little bit of a
thing, as somebody said, “all hair and spirit”. (J. Galsworthy)
6. Daylight was dying, the moon rising, gold behind the poplars.
(J. Galsworthy)
text.
nized.
your mind?
Text for Analysis
Graham Greene
THE INVISIBLE JAPANESE GENTLEMEN
There were eight Japanese gentlemen having a fish dinner at Bentley’s.

They spoke to each other rarely, in their incomprehensible tongue, but al-
ways with a courteous smile and often with a small bow. All but one of
them wore glasses. Sometimes the pretty girl who sat in the window be-
yond gave them a passing glance, but her own problem seemed too serious
52
for her to pay real attention to anyone in the world except herself and her
companion.
She had thin blonde hair and her face was pretty and petite in a Regency
way, oval like a miniature, though she had a harsh way of speaking — per-
haps the accent of the school, Roedean of Cheltenham Ladies’ College,
which she had not long ago left. She wore a man’s signet ring on her en-
gagement finger, and as I sat down at my table, with the Japanese gentle-
men between us, she said, “So you see we could marry next week.” —
“Yes?”
Her companion appeared a little distraught. He refilled their glasses with
Chablis and said, “Of course, but Mother…” I missed some of the conver-
sation then, because the eldest Japanese gentleman leant across the table,
with a smile and a little bow, and uttered a whole paragraph like the mutter
from an aviary, while everyone bent towards him and smiled and listened,
and I couldn’t help attending to him myself.
The girl’s fiancé resembled her physically. I could see them as two min-
iatures hanging side by side on white wood panels. He should have been a
young officer in Nelson’s navy in the days when a certain weakness and
sensitivity was no bar to promotion.
She said, “They are giving me an advance of five hundred pounds, and
they’ve sold the paperback rights already.” The hard commercial declara-
tion came as a shock to me; it was a shock too that she was one of my own
profession. She couldn’t have been more than twenty. She deserved better
of life.
He said, “But my uncle…”
“You know you don’t get on with him. This way we shall be quite inde-
pendent.” “You will be independent,” he said grudgingly.
“The wine-trade wouldn’t really suit you, would it? I spoke to my pub-
lisher about you and there’s a very good chance… if you began with some
reading…”
“But I don’t know a thing about books.”
“I would help you at the start.”
“My mother says that writing is a good crutch’’
“Five hundred pounds and half the paperback rights is a pretty solid
crutch,” she said.
“This Chablis is good, isn’t it?”
“I dare say.”
53
I began to change my opinion of him — he had not the Nelson touch.
He was doomed to defeat. She came alongside and raked him lore and aft:
“Do you know what Mr. Dwight said?”
“Who’s Dwight?”
“Darling, you don’t listen, do you? My publisher. He said he hadn’t read
a first novel in the last ten years which showed such powers of observa-
tion.”
“That’s wonderful,” he said sadly, “wonderful.”
“Only he wants me to change the title.”
“Yes?”
“He doesn’t like The Ever-Rolling Stream. He wants to call it The Chel-
sea Set.
“What did you say?”
“I agreed. I do think that with a first novel one should try to keep one’s
publisher happy. Especially when, really, he’s going to pay for our mar-
riage, isn’t he?”
“I see what you mean.” Absent-mindedly he stirred his Chablis with a
fork — perhaps before the engagement he had always bought champagne.
The Japanese .gentlemen had finished their fish and with very little Eng-
lish but with elaborate courtesy they were ordering from the middle-aged
waitress a fresh fruit salad. The girl looked at them and then she looked at
me, but think she saw only the future. I wanted very much to warn her
against any future based on a first novel called The Chelsea Set, I was on
the side of his mother. It was a humiliating thought, but I was probably
about her mother’s age.
I wanted to say to her, Are you certain your publisher is telling you the
truth? Publishers are human. They may sometimes exaggerate the virtue’s
of the young and the pretty. Will The Chelsea Set be read in five years?
Are you prepared for the years of effort, “the long defeat of doing nothing
well”? As the years pass, writing will not become any easier, the daily ef-
fort will grow harder to endure; those “powers of observation” will be-
come enfeebled; you will be judged, when you reach your forties, by per-
formance and not by promise.
“My next novel is going to be about St Tropez.”
“I didn’t know you’d ever been there.”
“I haven’t. A fresh eye’s terribly important. I thought we might settle
down there for six months.”
“There wouldn’t be much left of the advance by that time.”
54
“The advance is only an advance. I get fifteen per cent after five thou-
sand copies and twenty per cent after ten. And of course another advance
will be due, darling, when the next book’s finished. A bigger one, if The
Chelsea Set sells well.”
“Suppose it doesn’t?”
“Mr. Dwight says it will. He ought to know.” “My uncle would start me
at twelve hundred.” “But, darling, how could you come, then, to St
Tropez?” “Perhaps we’d do better to marry when you come back.”
She said harshly, “I mightn’t come back if The Chelsea Set sells well
enough.” “Oh.”
She looked at me and the party of Japanese gentlemen. She finished her
wine. She said, “Is this a quarrel?”
“No.” “I’ve got a title for the next book — The Azure Blue.”
“I thought azure was blue.”
She looked at him with disappointment. “You don’t really want to be
married to a novelist?”
“You aren’t one yet.”
“I was born one — Mr. Dwight says. My powers of observation…”
“Yes. You told me that, but, dear, couldn’t you observe a bit nearer
home? Here in London.”
“I’ve done that in The Chelsea Set. I don’t want to repeat myself.”
The bill had been lying beside them for some time now. He took his
wallet to pay, but she snatched the paper out of his reach. She said, “This is
my celebration.”
“What of?”
“The Chelsea Set, of course. Darling, you’re awfully decorative, but
sometimes — well, you simply don’t connect.
“I’d rather … if you don’t mind …”
‘No, darling, this is on me. And Mr. Dwight, of course.” He submitted
just as two of the Japanese gentlemen have tongue simultaneously, then
slopped abruptly and bowed to each other as though they were blocked in
a doorway.
I had thought the two young people matching miniatures, but what a
contrast there was in fact. The same type of prettiness could contain weak-
ness and strength. Her Regency counterpart, I suppose, would have borne a
dozen children without the aid of anaesthetics, while he would have fallen
an easy victim to the first dark eyes in Naples. Would there one day be a
dozen books on her shelf? They have to be born without an anaesthetic
too. I found, myself hoping that The Chelsea Set would prove to be a dis-
55
aster and that eventually she would take up photographic modelling while
he established himself solidly in the wine-trade in St James’s. I didn’t like
to think of her as the Mrs. Humphrey Ward of her generation — not that I
would live so long. Old age saves us from the realisation of a great many
fears. I wondered to which publishing firm Dwight belonged. I could im-
agine the blurb he would have already written about her abrasive powers
of observation. There would be a photo, if he was wise, on the back of the
jacket, for reviewers, as well as publishers, are human, arid she didn’t look
like Mrs. Humphrey Ward.
I could hear them talking while they found their coats at the back of the
restaurant. He said, “I wonder what all those Japanese are doing here?”
“Japanese?” she said “What Japanese, darling? Sometimes you are so
evasive I think you don’t want to marry me at all.”
Test Your Knowledge
Choose the correct variant.

I. Syntactical stylistic devices are based upon
a) the communicative type of the sentence
b) the emotional colouring of the words
c) the literary meaning of the words
d) the figurative meaning of the words
II. The deliberate omission of the conjunctions is named ….

a) aposiopesis
b) asyndeton
c) attachment
d) polysyndeton
III. The device in which the writer intentionally separates the predicate
from the subject with the other members of the sentence and the expected
information of major importance is kept till the end of the sentence is
called …:
a) aposiopesis
b) inversion
c) suspense
d) polysyndeton.
56
IV. The deliberate use of many conjunctions in one sentence is named ….
a) aposiopesis
b) asyndeton
c) attachment
d) polysyndeton.
V. The interrogative construction with the direct word order may be

viewed as a case of ….
a) rhetorical question
b) double inversion
c) partial inversion
d) complete inversion
VI. Define the type of repetition used in the following example.

With Bewick on my knee, I was then happy; happy at least in my way.
a) chain repetition
b) ordinary repetition
c) catch repetition
d) anaphoric repetition
VII. Define the syntactical stylistic device used in the following exam-
ple.
I have to beg you for money. Daily.
a) asyndeton
b) attachment
c) detachment
d) invesion
VIII. Pick out the syntactic stylistic devices based on: a) reduction, b)
extension of the sentence model:
1) rhetorical question; 2) polysyndeton; 3) parceling; 4) detachment; 5)
repetition; 6) tautology; 7) aposiopesis: 8) inversion; 9) an apokoinu con-
struction; 10) ellipsis: 11) asyndeton: 12) enumeration; 13) a nominative
sentence; 14) parallel constructions.
IX. Supply the missing word to indicate cases of repetition. Define the
repetition types:
a) Avoid evil and it will ….
b) Live not to … but eat to live.
57
c) What is lost is…
d) If mountain will not come to Mohammed … must go to …
X. Change the word order to make the sentence grammatically and se-
mantically correct:
1. Wanted, a situation as governess by a young lady aged 26 three
years.
2. Lost, an umbrella in Victoria by a lady with whalebone ribs.
3. Girl with wonderful personality wants as maid in good family. Can
cook and admire children.
58
SEMINAR IV
Lexico-Syntactical Level

1. What lexico-syntactical stylistic devices do you know?
2. What is called a climax? What kinds of it do you know? What is the
stylistic function of climax?
3. What lexico-syntactical stylistic device is opposite to climax?
4. How can one define antithesis? What are its basic functions?
5. What is understood by litotes? Name the main types.
6. What is the difference between simile and comparison? Give exam-
ples. Which of them is based on the logical comparison and which — on
the figurative?
7. What words are used as connectives in similes? Give examples.
8. What is the most common analogy simile is based on?
9. What lexico-syntactical stylistic device is called circumlocution?
How is it classified?
10. What is meant by euphemistic periphrases?
II. Find cases of litotes in the following sentences. Prove your choice.
1. Whatever defects the tale possessed — and they were not a few it
had, as delivered by her, the one merit of seeming like truth.
2. Later she knew that he was not without taste choosing very carefully
all presents for his family.
3. He was no gentle lamb, and the part of second fiddle would never do
for the high-pitched dominance of his nature (J. London).
4. A possibility to become a bankrupt troubled him not a little because
he knew that nobody would help him.
5. He found that this was no easy task to inform Mrs. Luke about her
husband’s death and he regretted that he had taken such a responsibility on
himself.
6. She was wearing a fur coat… Carr, the enthusiastic appreciator of
smart women and as good a judge of dress as any man to be met in a Pall
Mall club, saw that she was no country cousin. She had a style, or “devil”,
as he preferred to call it.
59
III. Complete the following similes. Translate the phraseological units
into Russian.
A. 1) as black as …, 2) as green as …, 3) as cold as …, 4) as white as
…, 5) as old as …, 6) as changeable as …, 7) as safe as …, 8) as brown as
…, 9) as clean as …, 10) as dull as ….
B. 1) ….. as a lion, 2) … as a lamb, 3) … as a mouse, 4) … as a cat, 5)
… as a kitten, 6) … as an eel, 7) … as an owl, 8) … As a wolf, 9) … as a
cricket, 10) … as a bee.
IV. Complete the following sentences, using the words from the list be-
low. Translate the phraseological units into Russian.
(Ice, beetroot, mule, feather, sheet, toast, clockwork, bee, rail, peacock.)
1. She was so embarrassed that she went as red as a …. 2. I can carry the
suitcase easily, it’s as light as a …. 3. The room is as warm as …. 4. My
sister does so many things that she’s always busy as a …. 5. He is as proud
as a … of his new car. 6. It’s as cold as … in that office. 7. Once he’s made
up his mind, he’ll never change it, he’s as stubborn as a …. 8. She was so
frightened that her face went as white as a …. 9. The postman always calls
at 8 o’clock, he’s as regular as …. 10. However much he eats, he’s always
as thin as a ….
V. Find the euphemistic substitutes for the following words:

Die, drunk, prison, mad, liar, devil, lavatory, god, eat, pregnant, stupid.
VI. Find the euphemisms in the following sentences. Name the words
for which they serve as euphemistic substitutes.
1. Policeman (to intoxicated man who is trying to fit his key to a lamp-
post): I’m afraid there’s nobody home there tonight. Man: Mus’ be.
Mus’be. Theresh a light upstairsh. 2. “Johnny, where do you think God is
this morning?” asked the Sunday-school teacher. “In our bathroom”, was
the reply. “What on earth makes you say so?” asked the amazed teacher.
“Because just before I left I heard pa said. “My Lord! How long are you
going to be in there?” 3. The doctor had an inveterate punster and wit
among his patients. One day he was late in making his rounds, and ex-
plained to the incorrigible humorist that he had stopped to attend a man
who had fallen down a well. With a groan of agony, the wit mustered up
strength enough to murmur: “Did he kick the bucket, doctor?” 4. A girl
was to visit her serviceman brother at a military hospital. While stopping at
the desk of the office of the day for directions to the patient’s ward she
60
asked: “Would you kindly tell me where the powder room is?” “Miss, the
corpsman on duty replied with dignity, “this is a hospital, not an arsenal.”
5. First student: “Great Scott! I’ve forgotten who wrote Ivanhoe.” Second
student: “I’ll tell you if you tell me who the dickens wrote The Tale of Two
Cities.” 6. So, for the love of Mike, come across to our table and help
things along. 7. You never know with lunatics,” said the young man chatti-
ly. “They don’t always look balmy, you know.” 8. “But what I mean was, it
sounds more like a rather idiotic kind of hoax. Perhaps some convivial idi-
ot who had one over the eight.” “Nine? Nine what?” “Nothing — just an
expression. I meant a fellow who was tight.” 9. “Funny old thing,” said
Lily Marbury indulgently. “Looks half batty to my mind.” 10. I think the
fellow’s half a loony. He needs some one to look after him”.
VII. Read the text below, examine it and give the stylistic analysis of
the text.
nized.
your mind?
Text for Analysis
James Joyce
EVELINE
She sat at the window watching the evening invade the avenue. Her
head was leaned against the window curtains, and in her nostrils was the
odour of dusty cretonne. She was tired.
Few people passed. The man out of the last house passed on his way
home; she heard his footsteps clacking along the concrete pavement and
afterwards crunching on the cinder path before the new red houses. One
61
time there used to be a field there in which they used to play every evening
with other people’s children. Then a man from Belfast bought the field and
built houses in it — not like their little brown houses, but bright brick
houses with shining roofs. The children of the avenue used to play together
in that field — the Devines, the Waters, the Dunns, little Keogh the crip-
ple, she and her brothers and sisters. Ernest, however, never played: he was
too grown up. Her father used often to hunt them in out of the field with
his blackthorn stick; but usually little Keogh used to keep nix and call out
when he saw her father coming. Still they seemed to have been rather hap-
py then. Her father was not so bad then; and besides, her mother was alive.
That was a long time ago; she and her brothers and sisters were all grown
up; her mother was dead. Tizzied Dunn was dead, too, and the Waters had
gone back to England. Everything changes. Now she was going to go
away-like the others, to leave her home.
Home! She looked round the room, reviewing all its familiar objects
which she had dusted once a week for so many years, wondering where on
earth all the dust came from. Perhaps she would never see again those fa-
miliar objects from which she had never dreamed of being divided. And
yet during all those years she had never found out the name of the priest
whose yellowing photograph hung on the wall above the broken harmoni-
um beside the coloured print of the promises made to Blessed Margaret
Mary Alacoque. He had been a school friend of her father. Whenever he
showed the photograph to a visitor her father used to pass it with a casual
word: “He is in Melbourne now.”
She had consented to go away, to leave her home. Was that wise? She
tried to weigh each side of the question. In her home anyway she had
known all her life about her. Of course she had to work hard, both in the
house and at business. What would they say of her in the Stores when they
found out that she had run away with a fellow? Say she was a fool, per-
haps; and her place would be filled up by advertisement. Miss Gavan
would be glad. She had always had an edge on her, especially whenever
there were people listening.
“Miss Hill, don’t you see these ladies are waiting?”
“Look lively, Miss Hill, please.”
She would not cry many tears at leaving the Stores.
But in her new home, in a distant unknown country, it would not be like
that. Then she would be married — she, Eveline. People would treat her
with respect then. She would nut be treated as her mother had been. Even
now, though she was over nineteen, she sometimes felt herself in danger of
62
her father’s violence. She knew it was that that had given her the palpita-
tions. When they were growing up he had never gone for her, like he used
to go for Harry and Ernest, because she was a girl; but latterly he had be-
gun to threaten her and lay whit he would do to her only for her dead
mother’s sake. And now she had nobody to protect her, Ernest was dead
and Harry, who was in the church decorating business, was nearly always
down somewhere in the country. Besides, the invariable squabble for mon-
ey on Saturday nights had begun to weary her unspeakably. She always
gave her entire wages — seven shillings — and Harry always sent up what
he could, but the trouble was to get any money from her father. He said she
used to squander the money, that she had no head, that he wasn’t going to
give her his hard-earned money to throw about the streets, and much more,
for he was usually fairly bad on Saturday night. In the end he would give
her the money and ask her had she any intention of buying Sunday’s din-
ner. Then she had to rush out as quickly as she could and do her marketing,
holding her black leather purse tightly in her hand as she elbowed her way
through the crowds and returning home late under her load of provisions.
She had hard work to keep the house together and to see that the two
young children who had been left to her charge went to school regularly
and got their meals regularly. It was hard work — a hard life — but now
that she was about to leave it she did not find it a wholly undesirable life.
She was about to explore life with Frank. Frank was very kind, manly,
open-hearted. She was to go away with him by the night-boat to be his
wife and to live with him in Buenos Ayres, where he had a home waiting
for her. How well she remembered the first time she had seen him; he was
lodging in a house on the main road where she used to visit. It seemed a
few weeks ago. He was standing at the gate, his peaked cap-pushed back
on his head and his hair tumbled forward over” a face of bronze. Then they
had come to know each other. He used to meet her outside the Stores every
evening and see her home. He took her to see The Bohemian Girl and she
felt elated as she sat in an unaccustomed part of the theatre with him. He
was awfully fond of music and sang a little. People knew that they were
courting, and, when he sang “about the lass that loves a sailor”, she always
felt pleasantly confused. He used to call her Poppens out of fun. First of all
it had been an excitement for her to have a fellow and then she had begun
to like him. He had tales of distant countries. He had started as a deck boy
at a pound a mouth on a ship of the Allan Line going out to Canada. He
told her the names of the ships he had been on and the names of the differ-
ent services. He had sailed through the Straits of Magellan and he told her
63
stories of the terrible Patagonians. He had fallen on his feet in Buenos
Ayres, he said, and had come over to the old country just for a holiday. Of
course, her father had found out the affair and had forbidden her to have
anything to say of him. ‘I know these sailor chaps,’ he said.
One day he had quarrelled with Frank, and after that she had to meet her
lover secretly.
The evening deepened in the avenue. The white of two letters in her lap
grew indistinct. One was to Harry; the other was to her father. Ernest had
been her favourite, but she liked Harry too. Her father was becoming old
lately, she noticed; he would miss her. Sometimes he could be very nice.
Not long before, when she had been laid up for a day, he had read her out a
ghost story and made toast for her at the fire. Another day, when their
mother was alive, they had all gone for a picnic to the Hill of Howth. She
remembered her father putting on her mother’s bonnet to make the chil-
dren laugh.
Her time was running out, but she continued to sit by the window, lean-
ing her head against the window curtain, inhaling the odour of dusty cre-
tonne. Down far in the avenue she could hear a street organ playing. She
knew the air. Strange that it should come that very night to remind her of
the promise to her mother, her promise to keep the home together as long
as she could. She remembered the last night of her mother’s illness; she
was again in the close, dark room at the other side of the hall and outside
she heard a melancholy air of Italy. The organ-player had been ordered to
go away and given sixpence. She remembered her father strutting back in-
to the sick-room saying: “Damned Italians! Coming over here!”
As she mused the pitiful vision of her mother’s life laid its spell on the
very quick of her being — that life of commonplace sacrifices closing in
final craziness. She trembled as she heard again her mother’s voice saying
constantly with foolish insistence: “Derevaun Seraun! Derevaun Seraun!”
She stood up in a sudden impulse of terror. Escape! She must escape!
Frank would save her. He would give her life, perhaps love, too. But she
wanted to live. Why should she be unhappy? She had a right to happiness.
Frank would take her in his arms, fold her in his arms. He would save her
in his arms, her.
She stood among the swaying crowd in the station at the North Wall. He
held her hand and she knew that he was speaking to her, saying something
about the passage over and over again. The station was full of soldiers with
brown bags. Through the wide doors of the sheds she caught the glimpse
of the black mass of the boat, lying in beside the quay wall, with illumined
64
portholes. She answered nothing. She felt her cheek pale and cold and, out
of a maze of distress, she prayed to God to direct her, to show her what
was her duty. The boat blew a long mournful whistle into the mist. If she
went, tomorrow she would be on the sea with Frank, steaming towards
Buenos Ayres. Their passage had been booked. Could she still draw back
after all he had done for her? Her distress awoke a nausea in her body and
she kept moving her lips in silent fervent prayer.
A bell clanged upon her heart. She felt him seize her hand: “Come!”
All the seas of the world tumbled about her heart. He was drawing her
into them: he would drown her. She gripped with both hands at the iron
railing.
“Come!”
No! No! No! It was impossible. Her hands clutched the iron in frenzy.
Amid the seas she sent a cry of anguish.
“Eveline! Evvy!”
He rushed beyond the barrier and called to her to follow. He was shout-
ed at to go on, but he still called to her. She set her white face to him, pas-
sive, like a helpless animal. Her eyes gave him no sign of love or farewell
or recognition.
Test Your Knowledge
I. Match each figure of combination with its main stylistic feature:

1. Simile. 2. Antithesis. 3. Climax. 4. Anticlimax.
a) a figure of ascending arrangement of emotional, qualitative, or
quantitative features of the referent under description;
b) a figure of identity consisting in expressive comparison of two be-
longing to different semantic classes objects which have something in
common;
c) a figure of inequality realized in decreasing significance, im-
portance or emotional tension of narration;
d) a figure of contrast at the level of two semantically opposite
phrases.
II. Choose the correct variant:

Climax is also called
a) comparison
b) gradation
c) personification
65
d) zeugma
III. Choose the device which occupies three steps or more which are
syntactically parallel to each other but each next step is more important
then the preceding one.
a) anticlimax
b) litotes
c) climax
d) simile
IV. Decide in each case whether the sentence: a) contains litotes, b) has
simple negation:
a) Don’t you think that the problem is really great?
b) Jack was unpredictable.
c) It was unillegal business
d) He said the phrases not without satisfaction.
V. Identify the expressive means used in the following example:

It is not unreasonable to conclude that something has occurred mean-
while.
a) hyperbole
b) litotes
c) pun
d) climax
VI. Identify the traditional/language periphrasis in the following examples:

a) a toy of a girl
b) the fair sex
c) old father time
d) to worm one’s way
VII. Identify the expressive means used in the following example:

It is safer to be married to the man you can be happy with than to the
man you cannot be happy without.
a) anticlimax
b) climax
c) antithesis
d) simile
VIII. Identify the expressive means used in the following example:
66
Like a well, like a vault, like a tomb, the prison had no knowledge of the
brightness outside.
a) climax
b) litotes
c) anticlimax
d) antithesis
IX. Which of the following statements contain similes?

a) It was as flat as a pancake.
b) There was as much as you could eat.
c) She was as bright as a button.
d) As if I would do a thing like that!
X. Match the periphrases with the notion they represent:
1. The Father of light a) Satan

2. A gentleman in black b) A lawyer
3. A gentleman /knight of industry c) God
4. A gentleman of the (long) robe d) A swindler
67
SEMINAR V
Peculiar Use of Set-Phrases

1. How are set-expressions divided?
2. What is understood by clichés? Give examples.
3. In what style are clichés used more often?
4. What are proverbs? Give examples.
5. What is meant by epigrams? Give examples.
6. How can we define “quotation”? Give examples.
7. What is understood by allusion? What are they based on?
8. What is the purpose of learning the English proverbs, in your opin-
ion?
9. What is the purpose of using allusions in the speech?
10. When do people need to use quotations?
II. Arrange the following word-combinations into 3 groups: a) clichés,

b) epigrams, c) proverbs. Prove your choice.
1. Out of sight, out of mind. 2. First come, first served. 3. Art is trium-
phant when it can use convention as an instrument of its own purpose. 4. A
God that can be understood is no God. 5. To observations which ourselves,
we make, we grow more partial for the observer’s sake. 6. A devil is not so
black as he’s painted. 7. Curiosity killed the cat. 8. Vital issue. 9. War hys-
teria. 10. Danger of war. 11. Early to bed and early to rise makes a man
healthy, wealthy and wise. 12. Pressing problem. 13. The drying up a sin-
gle tear has more of honest fame, than shedding seas of gore. 14. Bulwark
of civilization. 15. In the days of old, men made manners, manners now
make men.
III. Give the Russian equivalents and explain the meanings of the fol-
lowing proverbs. Use three of them in the situations of your own.
1. A bargain is a bargain. 2. A cat in gloves catches no mice. 3. Those
who live in glass houses shouldn’t throw stones. 4. A good beginning is
half the battle. 5. A new broom sweeps clean. 6. An hour in the morning is
worth two in the evening. 7. It never rains but it pours. 8. Don’t look a gift
68
horse in the mouth. 9. Make hay while the sun shines. 10. A cat has nine
lives.
IV. Give the English equivalents for the following Russian proverbs.
1. Нет худа без добра. 2. В гостях хорошо, а дома лучше. 3. С глаз
долой, из сердца вон. 4. Дуракам закон не писан. 5. Слезами горю не
поможешь. 6. Поспешишь — людей насмешишь. 7. Взялся за гуж, не
говори, что не дюж. 8. Внешность обманчива. 9. Нападение — луч-
ший способ защиты. 10. В семье не без урода.
V. Give the proverbs from which the following phraseological units

have developed.
1) Birds of a feather, 2) to catch at a straw, 3) to put all one’s eggs in one
basket, 4) to cast pearls before swine, 5) the first blow, 6) a bird in the
bush, 7) to cry over spilt milk, 8) the last straw.
VI. Read the text below, examine it and give the stylistic analysis of
the text.
3. Speak on how the text begins and ends, how the material is organized.
your mind?
Text for Analysis
Agatha Christie
WHERE THERE’S A WILL
“Above all, avoid worry and excitement, because you know that care
killed a cat,” said Dr. Meynell, in the comfortable fashion affected by doc-
tors. Mrs. Harter seemed more doubtful than relieved. To the old lady’s
nephew, Charles Ridgeway, the doctor was slightly more explicit.
69
“Do not misunderstand me,” he said. “Your aunt may live for years,
probably will. At the same time, shock or overexertion might carry her off
like that!” He snapped his fingers. “She must lead a very quiet life. No ex-
ertion. No fatigue. But, of course, she must not be allowed to brood. She
must be kept cheerful and the mind well distracted.”
“Distracted,” said Charles Ridgeway thoughtfully. Charles was a
thoughtful young man. He was also a young man who believed in further-
ing his own inclinations whenever possible. That evening he suggested the
installation of a radio set. Mrs. Harter was disturbed and unwilling.
Charles was persuasive. “I do not know that I care for these newfangled
things, as it is said an old dog will learn no new tricks,” said Mrs. Harter
piteously.
“My dear Aunt Mary,” said Charles enthusiastically, “it is the very thing
for you, to keep you from moping and all that.”
Mrs. Harter could not help smiling at him. She was very fond of
Charles. For some years a niece, Miriam Harter, had lived with her. She
had intended to make the girl her heiress, but Miriam had not been a suc-
cess. She was impatient and obviously bored by her aunt’s society. She
was always out, “gadding about” as Mrs. Harter called it. In the end she
had envied herself with a young man of whom her aunt thoroughly disap-
proved. Miriam had been returned to her mother with a curt note much as
tie had been goods on approval. She had married the young man in ques-
tion.
Having found nieces disappointing, Mrs. Harter turned her attention to
nephews. Charles, from the first, had been an unqualified success. He was
always pleasantly deferential to his aunt and listened with an appearance
of interest to the reminiscences of her youth. In this he was a great contrast
to Miriam who had been frankly bored and showed it. Charles was never
bored; he was always good-tempered, always gay. He told his aunt many
times a day that she was a perfectly marvellous old lady. Highly satisfied
with her new acquisition, Mrs. Harter had written to her lawyer with in-
structions as to the making of a new will. This was sent to her, duly ap-
proved by her, and signed.
And now even in the matter of the radio, Charles was soon proved to
have won fresh laurels.
Mrs. Harter, at first antagonistic, became tolerant and finally fascinated.
(Curiosity killed a cat)
70
She would turn on two switches, and enjoy the programme of the even-
ing. It was about three months after the radio had been installed that the
first eerie happening occurred. Charles was absent at a bridge party.
The programme for that evening was a ballad concert. A well-known
soprano was singing Annie Laurie, and in the middle of Annie Laurie a
strange thing happened. There was a sudden break, the music ceased for a
moment, the buzzing, clicking noise continued, and then that, too, died
away. There was silence, and then very faintly a low buzzing sound was
heard.
Mrs. Harter got the impression, why she did not know, that the machine
was tuned into somewhere very far away, and then, clearly and distinctly, a
voice spoke, a man’s voice with a faint Irish accent.
“Mary — can you hear me, Mary? It is Patrick speaking…. I am coming
for you soon. You will be ready, won’t you, Mary?”
Then, almost immediately, the strains of Annie Laurie once more filled
the room.
Mrs. Harter sat rigid in her chair, her hands clenched on each arm of it.
Had she been dreaming? Patrick! Patrick’s voice! Partick’s voice in this
very room, speaking to her. No, it must be a dream, a hallucination per-
haps. She must just have dropped off to sleep for a minute or two.
And then came the second occasion. Again she was alone in the room.
The radio, which had been playing an orchestral selection, died away with
the same suddenness as before. Again there was silence, the sense of dis-
tance, and finally Patrick’s voice, not as it had been in life — but a voice
rarefied, faraway, with a strange unearthly quality.
“Patrick speaking to you, Mary. I will be coming for you very soon
now.” Then click, buzz, and the orchestral selection was in full swing
again.
Mrs. Harter glanced at the clock. No, she had not been asleep this time.
Awake and in full possession of her faculties, she had heard Patrick’s voice
speaking. It was no hallucination, she was sure of that. But she didn’t tell
about it to anybody thinking that discretion is the best part of valour.
The next day she sat down and wrote to her lawyer asking if he would
send her will so that she might look it over.
Friday evening found the house very silent. Mrs. Harter sat as usual in
her straight-backed chair drawn up to the fireplace. All her preparations
were made. She had sorted and arranged all her personal belongings and
had labelled one or two pieces of jewellery with the names of friends or re-
lations. She had also written out a list of instructions for Charles.
71
Now she looked at the long envelope she held in her hand and drew
from it a folded document. This was her will sent to her by Mr. Hopkinson.
She had already read it carefully, but now she looked over it once more to
refresh her memory. It was a short, concise document. A bequest of 50
pounds to Elizabeth Marshall in consideration of faithful service; two be-
quests of 500 pounds to a sister and a first cousin, and the remainder to her
beloved nephew Charles Ridgeway.
Mrs. Harter nodded her head several times. Charles would be a very rich
man when she was dead. Well, he had been a dear good boy to her. Always
kind, always affectionate, and with a merry tongue which never failed to
please her.
She looked at the clock. Three minutes to the half-hour. Well, she was
ready. And she was calm — quite calm. Although she repeated these last
words to herself several times, her heart beat strangely and unevenly. She
hardly realized it herself, but she was strung up to a fine point of over-
wrought nerves.
Half past nine. The wireless was switched on. What would she hear? A
familiar voice announcing the weather forecast or that faraway voice be-
longing to a man who had died twenty-five years before? But she heard
neither. Instead there came a familiar sound, a sound she knew well but
which tonight made her feel as though an icy hand were laid on her heart.
A fumbling at the front door—
It came again. And then a cold blast seemed to sweep through the room.
Mrs. Harter had now no doubt what her sensations were. She was raid. She
was more than afraid — she was terrified—
And suddenly there came to her the thought: Twenty-five years is a long
time. Patrick is a stranger to me now. Terror! That was what was invading
her.
A soft step outside the door — a soft, halting footstep. Then the door
swung silently open—
Mrs. Harter staggered to her feet, swaying slightly from side to side, her
eyes fixed on the open doorway. Something slipped from her fingers into
the grate.
She gave a strangled cry which died in her throat. In the dim light of the
doorway stood a familiar figure with chestnut beard and whiskers and in
an old-fashioned Victorian coat. Patrick had come for her!
Her heart gave one terrified leap and stood still. She slipped to the
ground in a crumpled heap. There Elizabeth found her, an hour later.
72
Dr. Meynell was called at once and Charles Ridgeway was hastily sum-
moned from his bridge party. But nothing could be done, Mrs. Harter was
beyond human aid. When the household was in bed, Charles had removed
a certain wire which ran from the back of the radio cabinet to his bedroom
on the floor above. Also, since the evening had been a chilly one, he had
asked Elizabeth to light a fire in his room, and in that fire he had burned a
chestnut beard and whiskers. Some Victorian clothings belonging to his
late uncle he replaced in the camphor-scented chest in the attic.
As far as he could see, he was perfectly safe. His plan, the shadowy out-
line of which had first formed in his brain when Doctor Meynell had told
him that his aunt might with due care live for many years, had succeeded
admirably. A sudden shock, Dr Meynell had said. Charles, that affectionate
young man, beloved of old ladies, smiled to himself.
Nobody, least of all his dead aunt, had known in what perilous straits
Charles stood. His activities, carefully concealed from the world, had
landed him where the shadow of a prison loomed ahead.
Exposure and ruin had stared him in the face unless he could in a few
short months raise a considerable sum of money. Well — that was all right
now. Charles smiled to himself. Thanks to — yes, call it a practical joke —
nothing criminal about that — he was saved. He was now a very rich man.
He had no anxieties on the subject, for Mrs. Harter had never made any se-
cret of her intentions.
Chiming in very appositely with these thoughts, Elizabeth put her head
round the door and informed him that Mr. Hopkinson was here and would
like to see him. Charles went to the library. There he greeted the precise
old gentleman who had been for over a quarter of a century the late Mrs.
Harter’s legal adviser. The lawyer seated himself at Charles’s invitation
and with a dry little cough entered upon business matters.
“I did not quite understand your letter to me, Mr. Ridgeway. You seemed
to be under the impression that the late Mrs. Harter’s will was in our keep-
ing.”
Charles stared at him.
“But surely — I’ve heard my aunt say as much.”
“Oh! quite so, quite so. It was in our keeping.”
“Was?”
‘That is what I said. Mrs. Harter wrote to us asking that it might be for-
warded to her on Tuesday last
An uneasy feeling crept over Charles. He felt a far-off premonition of
unpleasantness.
73
“Doubtless it will come to light among her papers,” continued the law-
yer smoothly.
Charles said nothing. He was afraid to trust his tongue. He had already
been through Mrs. Harter’s papers pretty thoroughly, well enough to be
quite certain that no will was among them.
“What do you think? What are you driving at?”
Mr. Hopkinson shook his head.
“We must still hope the will may turn up. If it does not—”
Well, if it does not?”
“I am afraid there is only one conclusion possible. Your aunt sent for
that will in order to destroy it.
“But why?” cried Charles wildly. “Why?”
Mr. Hopkinson coughed. A dry cough.
“You have had no — er — disagreement with your aunt, Mr. Ridge-
way?” he murmured.
Charles gasped. “No, indeed,” he cried warmly. “We were on the kindli-
est, most affectionate terms, right up to the end.”
“Ah!” said Mr. Hopkinson, not looking at him.
It came to Charles with a shock that the lawyer did not believe him.
Who knew what this dry old stick might not have heard? Rumours of
Charles’s doings might have come round to him. What more natural than
that he should suppose that these same rumours had come to Mrs. Harter,
and that aunt and nephew should have had an altercation on the subject?
But it wasn’t so! Charles knew one of the bitterest moments of his career.
His lies had been believed. Now that he spoke the truth, belief was with-
held. The irony of it! Of course his aunt had never burned the will. Of
course — His thoughts came to a sudden check. What was that picture ris-
ing before his eyes? An old lady with one hand clasped to her heart —
something slipping — a paper — falling on the redhot embers.
Charles’s face grew livid. He heard a hoarse voice — his own — asking,
“If that will’s never found?”
There is a former will of Mrs. Harter’s still extant. Dated September,
1920. By it Mrs. Harter leaves everything to her niece Miriam Harter, now
Miriam Robinson. Dear me, Mr. Ridgeway, are you ill?”
Damn them all! The smug-faced lawyer. That poisonous old ass Mey-
nell. No hope in front of him — only the shadow of the prison wall.
He felt that Somebody had been playing with him — playing with him
like a cat with a mouse. Somebody must be laughing…
74
Test Your Knowledge
I. Enumerate the groups set expressions are divided into.
II. Name the kind of set expression with the following definition: “The
repetition of a phrase or statement from a book used by way of authority,
illustration, proof or a basis for further speculation on the matter”
a) epigrams
b) quotation
c) allusions
d) clichés
III. Name the set expression with the following definition: “a brief
statement showing in a condensed form the accumulated life experience of
the community and serving as some kind of moral for people.
a) quotation
b) epigram
c) proverb
d) set phrase
IV. Name who of the following linguists investigated the problem of

phraseology:
a) A. Kunin
b) C. Eckersley
c) V. Kaushanskaya
d) I. Arnold
V. Identify any idioms in these statements.

a) She used to let her hair down after a few drinks.
b) John and Marlene hit it off right from their first meeting.
c) Well I never! What a lovely surprise to see you here.
d) Sometimes we have fish and chips for supper.
VI. Match the first part of the set phrase with the second one.
1) As sly a) as a bee
2) As busy b) as a toast
3) As warm c) as a ghost
4) As pale d) as a fox
75
VII. Choose the proper explanation to the given idioms:
1. Infant phenomenon/prodigy
a) a physically strong child,
b) a child with supernatural abilities,
c) a child who shows knowledge not characteristic to his age.
2. To play the ape/the baby
a) to be young
b) to be stupid
c) to do nothing and behave foolishly
3. To eat a humble pie/to eat of one’s hand
a) to be hungry
b) to be submissive
c) to be quiet
4. To give someone full marks for
a) to trust smb
b) to get excellent marks
c) to confide
VIII. Group the following idioms as expressing positive or negative

feelings.
a) to be over the moon
b) to feel a bit down
c) to be as pleased as Punch
d) to be browned off
IX. Match the translation with the idiom:
1) To kiss the rod a) Затеять проказы

2) To give a thick ear b) Уйти с головой в работу
3) To be up to smth c) Покорно принимать наказания
4) To have one’s heart in one’s work d) Взять за ухо (в виде наказания)
X. Find the proverbs with the similar meaning.
1) All that glitters is not gold. a) Tastes differ.

2) Like teacher, like pupil. b) Never judge a book by its cover.
3) There is no accounting for tastes. c) Like father, like son.
4) Life is not a bed of roses. d) Life is not all beer and skittles.
76
SEMINAR VI
Stylistic Differentiation of the English Vocabulary

1. What determines the choice of stylistically marked words in each
particular situation?
2. In what situation are informal words used?
3. What are the main kinds of informal words? Give a brief descrip-
tion of each group.
4. What is the difference between colloquialisms and slang? What are
their common features? Illustrate your answer with examples.
5. What are the main features of dialect words?
6. Where are formal words used?
7. What are the principal characteristics of archaic words?
8. Where is professional terminology used? Do you think that students
of English should learn terms? If so, for which branch or branches of
knowledge?
9. What is understood by the basic vocabulary?
10. Which classes of stylistically marked words, in your opinion,
should be included in the students’ functional and recognition vocabulary
in 1) junior and 2) senior school vocabularies?
II. The italicized words and word-groups in the following extracts are
informal. Write them out in two columns and explain in each case why you
consider the word slang/colloquial. Look up any words you do not know in
your dictionary.
1. THE FLOWER GIRL: Now you are talking! I thought you’d come off
when you saw a chance of getting back a bit of what you chucked at me
last night. (Confidentially). You’d had a drop in, hadn’t you?
2. LIZA: What call would a woman with that strength in her have to die
of influenza? What become of her new straw hat that should have come to
me? Somebody pinched it; and what I say is, them as pinched it done her
in.
MRS. EYNSFORDHILL: What does doing her in mean?
HIGGINS (hastily): Oh, that’s the new small talk. To do a person in
means to kill them.
3. HIGGINS: I’ve picked up a girl.
77
MRS. HIGGINS: Does that mean that some girl has picked you up?
HIGGINS: Not at all. I don’t mean a love affair.
MRS. HIGGINS: What a pity! (From Pygmalion by G. B. Shaw)
4. JACK (urgently): Mrs. Palmer, if I ask you a straight question, will
you please give me a straight answer?
MURIAL: All right. Fire away.
JACK: Is your mother divorced?
MURIAL: Divorced? Mum? Of course not.
JACK (quietly): Thank you. That was what I had already gathered.
MURIAL: Mind you, she’s often thought of divorcing Dad, but some-
how never got round to doing it. Not that she’s got a good word to say for
him, mind you. She says he was the laziest, pottiest, most selfish chap
she’s ever come across in all her life. “He’ll come to a sticky end,” she
used to say to me, when I was a little girl. “You mark my words, Mu,” she
used to say, “if your Dad doesn’t end his days in jail my name’s not Flossie
Gosport.” (From Harlequinade by T. Rattigan)
5. My wife has been kiddin’ me about my friends ever since we was
married. She says that … they ain’t nobody in the world got a rummier
bunch of friends than me. I’ll admit that the most of them ain’t, well, what
you might call hot; they’re different somehow than when I first hung
around with them. They seem to be lost without a brass rail to rest their
dogs on. But of course they are old friends and I can’t give them the air.
(from Short Stories by R. Lardner)
III. The italicized words and word-groups in the following extracts are
formal. Describe the stylistic peculiarities of each extract in general and
say whether the italicized represents literary words, terms or archaic
words.
1. Sir,
We are instructed by Mr. Ernest Freeman, father of the above-mentioned
Miss Ernestina Freeman, to request you to attend at these chambers at 3
o’clock this coming Friday. Your failure to attend will be regarded as an
acknowledgement of our client’s right to proceed”. (From The French
Lieutenant’s Woman by J. Fowles)
2. “I have, with esteemed advice…” Mr. Aubrey bowed briefly towards
the sergeant,…” …prepared an admission of guilt. I should instruct you
that Mr. Freeman’s decision not to proceed immediately is most strictly
contingent upon your client’s singing, on this occasion and in our pres-
ence, and witnessed by all present, this document.”
78
3. ROMEO: So shows a snowy dove trooping with crows,
As yonder lady o’er her fellows shows.
The measure done, I’ll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? Forswear it, sight!
For I ne’er saw true beauty till this night.
TYBALT: This, by his voice should be a Montague.
Fetch me my rapier, boy. What! Dares the slave
Come hither, cover’d with an antick face,
To fleer and scorn at our solemnity?
Now, by the stock and honour of my kin,
To strike him dead I hold it not a sin.
(From Romeo and Juliet by Shakespeare, Act 1)
4. “…I want you to keep an eye on that air-speed indicator. Remember
that an airplane stays in the air because of its forward speed. If you let the
speed drop too low, it stalls — and falls out of the air. Any time the ASI
shows a reading near 120, you tell George instantly. Is that clear?” “Yes,
Captain. I understand.” “Back to you. George… I want you to unlock the
autopilot — it’s clearly marked on the control column — and take the air-
plane yourself… George, you watch the artificial horizon… Climb and de-
scent indicator should stay at zero.” (From Runway Zero-Eight by
A. Hailey, J. Castle)
5. ARTHUR: Jack! Jack! Where’s the stage manager?
JACK: Yes, Mr. Gosport?
ARTHUR: The lighting for this scene has gone mad. This isn’t our
plot. There’s far too much light. What’s gone wrong with it?
JACK: I think the trouble is they have crept in numbers two and
three too early. (Calling up to the flies). Will, check your plot, please.
Number two and three spots should be down to a quarter instead of full….
And you’ve got your floats too high, too.
(From Harlequinade by T. Rattigan)
IV. Make up a list of literary words selected from the following.

Absent, he was still unescapably with her, like a guilty conscience. Her
solitudes were endless meditations on the theme of him. Sometimes the
longing for his tangible presence was too achingly painful to be borne.
Disobeying all his injunctions, breaking all her promises, she would drive
off in search of him. Once, at about midnight, Tonino was called down
from his room at the hotel by a message that a lady wanted to speak to
79
him. He found her sitting in the car. “But I couldn’t help it, I simply
couldn’t help it,” cried she, to excuse herself and to mollify his anger.
Tonino refused to be propitiated. Coming like this in the middle of the
night! It was madness, it was scandalous!… (From Brief Candles by
A. Huxley)
text.
nized, what makes the text colloquial.
your mind?
Text for Analysis
John Cheever
I’M GOING TO ASIA
It was a Sunday evening and the Towle family sat on the terrace, admir-
ing the familiar scenery. There were Mr. and Mrs. Towle, Mr. Towle’s
mother, Bill and Freddy, their two sons, and Carole, Bill’s fiancee. Old
Mrs. Towle sat a little apart from the group. Freddy was sprawled on the
floor, nursing a drink. Bill sat on the hammock, holding Carole’s hand.
They were listening to a news broadcast from a portable radio. The an-
nouncer was sobbing with emotion. When the news broadcast ended and a
band began to play dance music Freddy turned off the radio. “You can all
thank your lucky stars that you haven’t any foreign investments,” old Mrs.
Towle said. Then she leaned forward in her chair and asked: “Isn’t that
someone on our pier, don’t I hear someone talking?” The sound she had
heard was a boat’s wash breaking on the shore. When she realized this she
laughed. “I haven’t been near the water for such a long time that when I
80
hear the waves breaking I think it’s somebody talking or walking around
the pier,” she explained. “I got up in the middle of the night because I
thought I heard someone walking around on the pier. It was just the water.”
‘The news makes me sick,” Freddy said quietly. He put a hand to his
stomach.
“You know, when I get old,” Carole said, “I’m going to overdress. I
think old age is such a good excuse for overdressing.”
“We’ll all spend the rest of our lives in uniform,” Freddy said.
“I wish Helen Hughes were here,” old Mrs. Towle said.
“Who, Mother?”
“Helen Hughes.”
“But she’s dead. She’s been dead a long time.”
“Yes, I know, but I just wish she were here. She always enjoyed the
mountain scenery so much; she always thought the Adirondacks-were
more beautiful than anything in Europe.”
“A damned sight safer than anything in Europe,” Freddy said. The light
was going off the water. The changes of, light on the water and on the
mountains held their interest. They were people with the city in their
blood, and for them the country was like some reassuring and ingenuous
imitation of the past.
“I’m going to Asia,” Carole said, “and I’m going to take a bathtub.”
“I’m going to Asia,” Bill said, “and I’m going to take an anesthetic.”
“Oh, is it my turn?” Mrs. Towle asked. She was knitting on a large gray
sock. “I never can understand this game. Let me see. Well, I guess, I’m go-
ing to Asia and I’m going to take an icebox.”
“You can’t go to Asia, Mother,” Carole said.
“There,” old Mrs. Towle said, when the wash from another boat broke
among the stones. “It does sound like somebody talking, talking or walk-
ing around, doesn’t it? If you’re not thinking about it, that is.”
“I’m going to Asia and I’m going to take a trunk,” Mr. Towle said.
“Antwerp, Liege, Amiens, Beauvais,” Freddy said, “I’ve been to all of
them. They’re all ruins now. When I took the bicycle trip I went to all of
those places.”
“Would you like to go to Asia?” Carole asked old Mrs. Towle.
“Oh yes,” she said, “I’d love to go to Asia. Let me see. I’m going to
Asia and I’m going to take a dress.”
“Sorry,” Carole said, “you can’t go to Asia, Freddy.”
“What have the others taken?”
81
“I’m taking a bathtub and Bill took an anesthetic and Mr. Towle took a
trunk.”
“I’m taking a horse,” Freddy said.
“You can go to Asia.”
“Oh, Charles, I forgot to tell you,” Mrs. Towle said to her husband, ‘1
sent that check you gave me for the bills to the English Speaking Union to
buy yarn for socks.”
“You shouldn’t have done that, Louise. I don’t mind giving a small con-
tribution but we can’t give away that kind of money now.” He dropped his
arms and said sadly: “I once paid five hundred dollars for a bowl of beef
strew. That was at the Waldorf, for Near East Relief.”
“Want to go for a dip?” Bill whispered to Carole. She agreed, and they
got up and walked down toward the boathouse. They left the hammock
swinging and the rusty chains gave off a grating and regular noise. ‘They
don’t have coffee,” Freddy said, “they don’t have butter. They don’t have
whisky, they have no homes. At one meal we eat more meat than anybody
in Europe sees in six months.”
“I hope this sock isn’t going to be too big,” Mrs. Towle said, holding up
the sock. “I always imagine soldiers as having big feet, although I suppose
some of them have small feet just like everybody else.” She waited for the’
sound of Carole and Bill, closing the locker doors in the boathouse, and
then she continued in a low voice: “It makes me so happy to see them to-
gether. They’re so happy. The only thing I want is to see my sons happily
married and to have a few grandchildren. If you were only married, Fred-
dy, I wouldn’t ask for anything more.”
Freddy laughed unpleasantly. ‘This is a fine time to get married. This is
a swell year to get married. Maybe I’ll have to go to war. I’ll be in the first
draft. Maybe I’ll be killed. This is a swell time to get married. No, thank
you.”
“You take it too hard, Freddy.”
‘That’s what you think now.”
“Aunt Annie used to feel like that,” Mrs. Towle said quietly.
“After the World War when there was all that trouble in Armenia we had
her for Thanksgiving dinner and for a minute there I thought she was going
to throw the turkey at your father. Turkey,’ she said, ‘turkey! You, people
are eating turkey and the Armenians are starving.’ Why, she used to…”
“Well, she wasn’t so crazy,” Freddy cried suddenly and angrily. “She
wasn’t so dumb. She knew something was wrong. The thing that kills me
is 48 the surprise you people have coming. You just sit around here as if
82
nothing had happened. Well, something has happened. Our world has end-
ed. It’s the end of our world. In every way. It’s all over.”
“Don’t talk to your mother like that, Freddy,” Mr. Towle said. “I’m not
telling her anything that will hurt her. I’m telling her something she ought
to know. It isn’t going to be like this any more. We’re nice people and
there isn’t going to be room for nice people any more. It’s ended, it’s all
over, it’s dead. She ought to know it. She ought to realize it.” He turned his
back on them and took his head in his hands.
From below they heard the sound of running footsteps on the pier. “Is it
freezing?” they heard Carole shout. There was no reply and she called out
the question again.
“No, not very,” Bill shouted. The embrace of cold water forced his
voice. “Well, here goes,” they heard Carole shout, and then there was a
splash, “It’s not bad, is it?” Bill shouted. “No, it’s not bad but it’s not ex-
actly like a bathtub.”
“Sissy.”
“Sissy yourself.”
“Come over here.” “No, let go of me, let go of me, Bill.”
They could still hear their voices when Carole and Bill left the water for
the boathouse. “When we get married,” Bill said, “I’ll build you a swim-
ming pool with hot water. I’ll build you a big glassed-in swimming pool in
our — house in Westchester, our big house in Westchester.”
“I want to live on Long Island,” Carole said.
“Oh, so you want to live on Long Island. And I suppose when we have a
son you’ll want to name him Michael.” “Sure, that’s a nice name.”
“And you’ll want to name our daughter Eulalie.” “Sure.” There was the
sound of a struggle and then Carole giggled. “Stop it. Bill. Stop it. Ouch!
Stop it.”
Mr. Towle slapped at a mosquito on his ankle. “I don’t see why if I took
a dress I couldn’t go to Asia,” old Mrs. Towle said crossly. “I don’t like
that game. I don’t understand it.”
“Next year I’d like to remodel the barn,” Mrs. Towle said, “so that when
Carole and Bill come up here after they’re married they can be near us and
still have a house of their own. The Taylors remodelled their barn and
when they were through with it, it was much nicer than the house. We
could make a fireplace out of the old stone wall and knock some dormers
into the roof. After we’ve gone Freddy and his wife can have the house
and Carole and Bill can have the barn.” She dropped her knitting tiredly.
83
“I’d like to go to Asia,” she said. ‘There isn’t any war in Asia, is there? Or
is there?”
Test Your Knowledge
I. Name the main layers of the English vocabulary.
II. Name the groups of special literary words.
III. What groups are the colloquial words divided into?
IV. Name the difference between barbarisms and foreignisms.
V. Name the difference between archaisms and historisms.
VI. Define the words used in the following example. What group of the
English vocabulary do they belong to?
“Don’t wanna sleep, Don’t wanna die, just wanna go a-travelin’
through the pastures of the sky.”
a) neutral words
b) slang
c) jargonisms
d) historisms
VII. Define the words used in the following example. What group of
the English vocabulary do they belong to?
I need to check my e-mail.
a) neologisms
b) colloquial
c) terms
d) historisms
VIII. Define the words used in the following example. What group of
the English vocabulary do they belong to?
There we were … in the hell of the country — pardon me — a country
of raw metal.
a) neutral
b) jargonisms
c) vulgarisms
84
d) terms
IX. Define the words used in the following example. What group of the
“Thou art the Man,” cried Jabes.
a) neutral
b) slang
c) archaisms
d) vulgarisms
X. Define the words used in the following example. What layer of the
“She’s engaged. Nice guy. There’s a slight difference in height. I’d say a
foot, her favor.”
a) neutral
b) colloquial
c) literary
85
FINAL TEST
Stylistics of the English language
Variant 1
General Notions (max. 15%)
1. Complete the statement with the correct term.
The whole set of linear relations between the language units of one level
within the framework of the unit belonging to a higher level is called
____________.
2. Choose the correct completion of the statement.
In studying language, stylistics chiefly leans upon
a) the functional approach
b) the structural approach
c) the substantial approach
Materialized information clothed in a sound form is called
a) message
b) signal
c) code
4. Give a one-sentence definition to the notion of thesaurus.
5. Fill in the correct term.
Divergence between the sender’s and addressee’s codes, polysemy,
physical noise, changes in the transmission channel are classified as
____________ to communication.
6. “Style is the man himself” (G. Buffon) is a famous interdisciplinary
definition of style. Provide another definition of style as a semiotic notion.
7. Complete the statement with the correct term.
The most correct and prestigious style of speech established in the so-
ciety within the given period of time is ____________.
Rendering the message an additional or different sense as a result of its
decoding is
a) redundancy of information
b) accumulation of information
c) predictability of information
9. Name the three main types of context, completing the classification:
a) linguistic
86
b)
c)
By constellation one understands
a) a combination of units belonging to the same register in one context
b) a combination of units belonging to different registers in one context
c) a type of paradigmatic relations behind a stylistic device
11. Which of the two definitions is true?
a) The vehicle of a stylistic image is the naming notion.
b) The vehicle of a stylistic image is the named notion.
Genetic stylistics ….
a) aims at revealing the author’s intention
b) deals with the reader’s perception of the literary work
c) disengages itself from the author’s intention and the reader’s per-
ception
Stylistic Phonetics and Morphology (max. 5%)
13. Onomatopoeia can be defined as
a) a combination of speech sounds which aims at imitating sounds
produced by nature, people or animals
b) an effect of ease and comfort in pronouncing and hearing
c) a repetition of similar vowel sounds in close succession aimed at
phonetic and semantic organization of an utterance
14. Find a mistake in the following statement and re-write it correcting
one word only.
The abundance of morphological expressive means in English is prede-
termined by its analytical character.
15. Determine to which parts of speech the following morphostylistic
terms pertain. For each term choose between the three options in brackets:
a) Pluralis Modestial (a pronoun? a verb? a noun?)
b) “Editorial we” (a pronoun? an article? a noun?)
16. Identify the morphological device in the following sentence:
“It was a dead leaf, deader than the deadest tree leaf.”
Stylistic Lexicology (max. 10 %)
17. Which of the following is not true?
a) Lexical meaning is basic while stylistic one is additional.
b) Lexical meaning is more flexible and changeable whereas stylistic
one is more stable.
87
c) Lexical meaning is explicit while stylistic one is, for the most
part, implicit.
18. Words having a lexico-stylistic paradigm are characterised by
a) direct reference to the denotate
b) indirect reference to the denotate
c) no connotations
19. Select the two obligatory characteristics that pertain to expressive
meaning:
a) indirect reference to the denotate
b) constant usage in a certain speech sphere
c) metaphoric transfer
20. Which of the following do not belong to the class of words having a
lexico-stylistic paradigm
a) archaic forms of words
b) barbarisms
c) foreign words
21. Organize the following groups of words into the two major classes,
name these classes: slangisms, borrowings, dialectisms, bookish words,
neologisms, archaisms, vulgarisms, exotisms.
22. Provide a one- or two-sentence explanation of the differences be-
tween lexical neologisms and stylistic neologisms.
23. Which of the following types of structural transformation of phra-
seologisms is not true?
a) expansion
b) reduction
c) convergence
Stylistic Syntax (max. 5%)
24. Point out which of the syntactical stylistic devices given below can
be defined as a deliberate break of a sentence into two separate sentences
or clauses:
a) aposiopesis
b) parcellation
c) ellipsis
25. Identify the type of repetition in the following:
“Yes, but I was afraid, afraid I’d go to one who’d tell Paul.”
a) ordinary
b) catch
c) chain
26. What syntactical EM is employed in the given sentence?
88
“The widow Douglas, she took me for her son.”
27. Define the two syntactical expressive means that were used to cre-
ate gradation in the given sentence:
“He was her Europe, her emperor, her allied monarchs and august prince
regent.”
Stylistic Semasiology (max. 10%)
Metaphors which are used as a means of giving a name to an object pro-
duced by people in imaginary similarity of associations or emotions caused
by the object, are called
a) cognitive metaphors
b) nominative metaphors
c) generalizing metaphors
29. Which of the following statements is true?
a) Irony is a figure of the metaphorical group.
b) Irony is based upon the opposition of form and meaning.
c) Irony is always expressed through graphical or paralinguistic
markers.
30. Organize the following figures into the two groups:
synecdoche, metaphor, allegory, periphrasis, epithet, euphemism.
31. Which of the statements contain oxymoron?
a) He was condemned to a living death.
b) “Make mine a whiskey sour, please!”
c) No light, but rather darkness visible.
32. Which figure of substitution is defined as a deliberate understate-
ment of some feature?
33. Which figure of combination creates a humorous effect in the fol-
lowing statement?
“The man who is always asking for a loan is always left alone.”
34. By the stylistic criterion synonyms can be grouped into: synonyms-
specifiers and ________________.
35. Define which of the figures — metaphor or metonymy — the fol-
lowing epithets are based upon: cat-and-dog life, a freezing mood, the kit-
ten of a woman, a majestic sun.
Stylistic Differentiation of English (max. 5%)
Practical oral, practical written, poetic oral and poetic written subsys-
tems are
a) functional styles
89
b) functional types of language
c) functional types of speech
37. Genres of the texts are distinguished according to their
a) semantic feature and thematic characteristics
b) compositional and stylistic properties
c) all of the above
38. Fill in the gap with the correct term.
While V. V. Vinogradov distinguishes the conversational style only,
O. M. Morokhovsky differentiates between the literary conversational
style and ________________________ style.
39. The genre of essay belongs to
a) the scientific style
b) the publicistic style
c) the belles-lettre style
40. Fill in the gap with the correct term.
O.M. Morokhovsky refers business, legal, diplomatic and military doc-
uments to the __________________________ style.
Practical Assignment (max. 50%)

(“5” — 50%, “4” — 40%, “3” — 30%, “2” — 20%)
Offer a comprehensive linguostylistic analysis of the following excerpt.

On the shore of the French Riviera, about half-way between Marseilles
and the Italian border, stood a large, proud, rose-coloured hotel. Deferen-
tial palms cooled its flushed façade, and before it stretched a short dazzling
beach. Now it has become a summer resort of notable and fashionable
people; in 1925 it was almost deserted after its English clientele went north
in April; only the cupolas of a dozen old villas rotted like water lilies
among the massed pines between Gausse’s Hotel des Étrangers and
Cannes, five miles away.
The hotel and its bright tan prayer rug of a beach were one. In the early
morning the distant image of Cannes, the pink and cream old fortifications,
the purple Alp that bounded Italy, were cast across the water and lay qua-
vering in the ripples and rings sent up by sea-plants through the clear shal-
lows. (From Tender is the Night by F. S. Fitzgerald.)
90
Test Evaluation
Explanatory Note
A student’s total score for the test is comprised of maximum 50% for the
theoretical part and maximum 50% for the practical part. Each question of
the theoretical part is estimated from 0 to 3%, depending on the number of
problem points tested. The exact value of each question is indicated in the
keys to the questions.
Total Score:
20 points — 81–100 %,
16 points — 61–80% ,
12 points — 41–60%,
8 points — below 41%.
Evaluation Criteria for the Linguostylistic Analysis
A student deserves 50% of the test result if:

1. A linguostylistic analysis of the fragment is done in compliance with
the academic requirements, both in content and form;
2. Three mistakes in spelling, grammar, lexical selection and stylistic
usage have been made.

the academic requirements, with one of them inaccurately or incompletely
fulfilled;
2. Two mistakes in spelling or grammar and four mistakes in lexical se-
lection and stylistic usage have been made.
the academic requirements, with two of them inaccurately or incompletely
fulfilled;
2. Three mistakes in spelling or grammar and five mistakes in lexical
selection and stylistic usage have been made.

1. A linguostylistic analysis of the fragment is not done in compliance
with the academic requirements;
2. Four mistakes in spelling or grammar and six mistakes in lexical se-
lection and stylistic usage have been made.

No linguostylistic analysis of the fragment was completed.
91
SELF-STUDY TOPICS IN STYLISTICS
1. Different conceptions of Stylistics as a linguistic discipline, of its

aims and contents.
2. Sound symbolism.
3. Patterns of rhythm and rhyme in modern poetry.
4. A contrastive analysis of English and Ukrainian morphological
means and devices.
5. Stylistic functions of phraseology in belles-lettre and other speech
registers.
6. Low-flown vocabulary in modern literary and media discourse.
7. Syntactical and compositional patterns pertaining to different
speech registers.
8. Metaphorical and metonymical figures of speech from the perspec-
tive of Cognitive Linguistics.
9. Typology of texts and their genres in different speech registers.
10. U. Eco’s, R. Bart’s and Yu. Lotman’s critical essays on literary text
interpretation.
11. Intertextuality as a stylistic and semiotic notion.
12. Mikhail Bakhtin’s theory of narrative.
13. Image of the author as a notion discussed in Roland Barthes’ works.
14. “Stream of consciousness” as a textual phenomenon.
15. Contemporary classifications of fictional characters.
16. Evolution of the notion “text addressee” in literary criticism and
linguostylistics.
17. The text information category.
18. Factual and conceptual information in the text content. The notion
of implication.
19. The text communicative pragmatic aim. The category of addressing.
20. Functional stylistic paradigm of the text.
21. Functional semantic paradigm: texts-descriptions, texts-narratives,
texts-reflection, texts-dialogues, polylogues.
22. Compositional structural paradigm of the text.
23. Individual paradigm of the author.
24. The problem of intertextual relations.
25. Integration of the stylistic devices and expressive means at the text
level.
26. Possible approaches to the stylistic analysis of the whole text.
92
SAMPLES OF ASSIGNMENTS
FOR STUDENTS’ INDEPENDENT WORK
1. Prepare a 10–15-minute class report on the phenomenon of sound

symbolism as treated from different — psychological, physical, linguistic,
aesthetic and other — perspectives. Use additional literature and on-line
sources for the coverage of up-to-date viewpoints on the phenomenon. An-
alyse the signs of sound symbolism and its effect on the reader on the basis
of a poem. You can also investigate the effect of sound form on the recipi-
ent through advertising discourse. An interview or association test is rec-
ommended as a research tool for studying the addressees’ reactions.
2. Prepare a 10–15-minute class report on stylistic peculiarities of the
publicistic style. Outline all genres and types of texts belonging to this
speech register. Provide examples of such texts or their fragments on
handouts for participants of the seminar.
3. Prepare a 10–15-minute class report on Mikhail Bakhtin’s theory of
narrative. Study the recommended literature and comment on the two basic
voice effects — “monologism” and “dialogism” — that can characterize a
narrative text. Supply examples from literary discourse of various genres
to illustrate the above effects.
4. Suggest your vision of the recipient design, characteristic of various
discourse types, e.g. advertisements, scientific discourse, newspaper arti-
cles, etc. Comment on the points of similarity and difference between the
discourse you choose and conventional (or literary discourse), viewed
from the recipient design perspective.
93
LIST OF THE EXAMINATION QUESTIONS
1. Stylistics as a branch of general linguistics.

2. Levels of linguistic analysis of a text. Specific sources of expres-
siveness at each level.
3. Aims of stylistic analysis. Stylistic devices and expressive means.
4. Expressive potential of phonemic level.
5. Speak about sound instrumentory (alliteration, assonance, onomat-
opoeia).
6. Characterise types and functions of print, hyphenation, multiplica-
tion, graphon.
7. Expressive potential of morphemic level.
8. Speak about morphemic repetition, occasionalisms.
9. Speak about expressive potential of lexical level.
10. Speak about tropes.
11. Speak about metaphor and metonymy (their types and functions).
12. Speak about irony, antonomasia, play on words.
13. Speak about hyperbole, epithet, oxymoron, violation of phraseolog-
ical unit.
14. Expressive potential of syntactical level.
15. Speak about rhetorical question, ellipsis, aposiopesis.
16. Speak about inversion, detachment, suspense.
17. Speak about repetition, parallelism, chiasmus, attachment.
18. Speak about lexico-syntactical stylistic devices: climax, antithesis,
litotes, simile.
19. Speak about stylistic differentiation of the English vocabulary.
20. Speak about functional styles of the English language.
21. Speak about the use of cliché, proverbs and saying, epigrams, quo-
tations and allusions in the texts.
22. Speak about Scientific Functional Style.
23. Speak about the Style of Official Documents.
24. Speak about Publicistic Style.
25. Speak about Belles-Lettres Style.
26. Speak about Newspaper Functional Style.
27. Speak about Types of Narration.
28. Speak about Narrative Compositional Forms and Types of Charac-
terization.
29. Speak about Individual Style.
30. Speak about the problem of the Literary Norm.
94
RECOMMENDED LITERATURE
1. Арнольд И. В. Стилистика современного английского языка. —

2-е изд., перераб. — Л.: Просвещение, 1981. — 295 с.
2. Ахманова О. С. Словарь лингвистических терминов. — 2-е
изд. — М.: Советская энциклопедия, 1969. — 607 с.
3. Бацевич Ф. С. Основи комунікативної лінгвістики. — К.: Ви-
давничий центр «Академія», 2004. — 344 с.
4. Виноградов В. В. Стилистика. Теория поэтической речи. Поэ-
тика. — М.: Изд-во АН СССР, 1963. — 255 с.
5. Долинин К. А. Интерпретация текста. — М., 1985. — 288 с.
6. Дубенко О. Ю. Порівняльна стилістика англійської та українсь-
кої мов. — Вінниця: Нова книга, 2005. — 224 с.
7. Єфімов Л. П. Стилістика англійської мови: Підручник. — Він-
ниця: Нова книга, 2004. — 240 с.
8. Иванова Т. П., Брандес О. П. Стилистическая интерпретация
текста. — М.: Высшая школа, 1991. — 144 с.
9. Иващикин М. П., Сдобников В. В., Селяев А. В. Практикум по
стилистике английского языка. — М., 2005. — 101 с.
10. Кожина М. Н. К основаниям функциональной стилистики. —
Пермь: Из-во ПГУ, 1968. — 251 с.
11. Колегаева И. М. Текст как единица художественной и научной
коммуникации. — Одесса, 1991. — 121 с.
12. Кухаренко В. А. Інтерпретація тексту. — Вінниця: Нова книга,
2004. — 272 с.
13. Мороховский А. Н., Воробьева О. П. Стилистика английского
языка. — К: Вища школа, 1991. — 272 с.
14. Одинцов В. В. Стилистика текста. — М.: Наука, 1981. — 264 с.
15. Разинкина Н. М. Стилистика английской научной речи. — М.:
Наука, 1972. — 304 с.
16. Разинкина Н. М. Функциональная стилистика. — М.: Высшая
школа, 2004. — 271 с.
17. Рудяков Н. А. Основы стилистического анализа художествен-
ного произведения. — Кишинев, 1972.
18. Скребнев Ю. М. Очерк теории стилистики: Учебное пособие
для студентов и аспирантов филологических специальностей. —
Горький: ГГПИИЯ, 1975. — 175 с.
95
19. Скребнев Ю. М. Основы стилистики английского языка: Учеб-
ник для вузов. — М.: АСТ; Астрель, 2003. — 221 с.
20. Худолій А. О. Метафора у мові американських публіцистичних
текстів. — Острог, 2005. — 128 с.
21. Akhmanova O. Linguostylistics. — Moscow, 1972.
22. Galperin I. R. Stylistics. — Moscow: Higher School, 1977. —
335 p.
23. Kukharenko V. A. Seminars in style. — Moscow: Higher School,
1971. — 171 p.
24. Kukharenko V. A. A book of practice in stylistics. — Vinnytsia:
Nova Knyga Publishers, 2000. — 160 p.
25. Soshalskaya E. G., Prokhorova V. I. Stylistic analysis. — Moscow:
Higher School, 1997. — 94 p.
26. Fowler H. W. E. F. G. The King’s English. — Wordsworth Editions
Ltd, 1993.
Additional literature
1. Брандес М. П. Стилистика немецкого языка. — М.: Высшая

школа, 1983. — 271 с.
2. Воробьева О. П. Текстовые категории и фактор адресата. — К.:
Вища школа, 1993. — 200 с.
3. Гореликова М. И., Магомедова Д. М. Лингвистический анализ
художественного текста. — М.: Русский язык, 1983. — 151 c.
4. Долинин К. А. Стилистика французского языка. — 2-е изд., до-
раб. — М.: Просвещение, 1987. — 303 с.
5. Домашнев А. Н., Шишкина И. П., Гончарова Е. А. Интерпре-
тация художественного текста. — 2-е изд., дораб. — М.: Просвеще-
ние, 1989. — 208 с.
6. Моисеева Л. Ф. Лингвистический анализ художественного тек-
ста. — К., 1984.
7. Пелевина Н. Ф. Стилистический анализ художественного тек-
ста. — Л.: Просвещение, 1980. — 270 с.
8. Степанов Ю. С. Французская стилистика. — М.: Высшая шко-
ла, 1965. — 355 c.
9. Тексти лекцій з дисципліни «Стилістика англійської мови» для
студентів ІV курсу / Уклала С. В. Боднар. — Одеса: ПДПУ імені
К. Д. Ушинського, 2008. — 79 с.
96
10. Borisova L. V. Interpreting Fiction. — Minsk: Vyšejšaja škola,
1987.
11. Diakonova N., Arnold I. Three Centuries of English Poetry. —
Leningrad: Prosvesheniye, 1967.
12. Diakonova N., Arnold I. Three Centuries of English Prose. — Len-
ingrad: Prosvesheniye, 1967.
13. Sosnovskaya V. B. Analytical Reading. — Moscow: Higher School,
1974. — 184 p.
14. Vorobyova O. P. Literary Text: A Comparative Study // The Para-
session on Theory and Data in Linguistics. — Chicago: Chicago Linguistic
Society, 1996. — P. 165—175.
Dictionaries
1. Ахманова О. С. Словарь лингвистических терминов. — М.:

Советская энциклопедия, 1969. — 607 с.
2. Баранов А. Н., Добровольский Д. О. Англо-русский словарь по
лингвистике и семиотике. — М: Азбуковник, 2002. — 640 с.
3. Квеселевич Д. И. Русско-английский фразеологический сло-
варь. — М.: Русский язык, 1998. — 704 с.
4. Кунин А. В. Англо-русский фразеологический словарь. — 3-е
изд., стереотип. — М.: Русский язык, 2001. — 512 с.
5. Кузьмин С. С. Русско-английский фразеологический словарь
переводчика. — М.: Флинта, 2001. — 776 с.
6. Розенталь Д. Э., Теленкова М. А. Словарь-справочник лингви-
стических терминов: Пособие для учителя. — 3-е изд. — М.: Про-
свещение, 1985. — 399 с.
7. Струганець Л. В. Культура мови. Словник термінів. — Терно-
піль: Навчальна книга — Богдан, 2000. — 88 с.
8. Эльянова Н. М. Крылатые слова, их происхождение и значе-
ние. — Л.: Просвещение, 1971. — 208 с.
9. Baldick C. Oxford concise dictionary of literary terms. — Oxford:
Oxford University Press, 1996. — 246 p.
10. Gulland D. M., Hinds-Howell D. G. The Penguin Dictionary of
English Idioms. — Penguine Books Ltd. England, 1994. — 305 p.
11. Crystal D. A Dictionary of lingustics and phonetics. — Basil
Blackwell Ltd. UK, 1986. — 340 p.
12. Cresswell J. The Penguin Dictionary of Clichés. — Penguin Books
Ltd, 2000. — 296 p.
97
ДЛЯ НОТАТОК
98
МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ

Кафедра германської філології та методики викладання іноземних мов
Навчальне видання
Світлана Вікторівна Боднар
СТИЛІСТИКА АНГЛІЙСЬКОЇ МОВИ
Навчальний посібник
для студентів, магістрантів,
викладачів англійської мови
Рецензент
Тетяна Євстафіївна Єременко
Оформлення видання
Денис Заец
Гарнітура Times New Roman

Підписано до друку 25.09.2008. Формат 60×84/16
Бумага тонка. Друк цифровий
Ум. др. арк. 4,26. Обл.-вид. арк. 5,75.
Наклад 50 прим. Безкоштовно

65020, м. Одеса, вул. Старопортофранківська, 26
99

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МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ

Південноукраїнський державний педагогічний

Кафедра германської філології та методики викладання іноземних мов

СТИЛІСТИКА АНГЛІЙСЬКОЇ МОВИ

Затверджено Вченою Радою ПДПУ ім. К. Д. Ушинського

Навчальний посібник з курсу «Стилістика англійської мови»

Навчальний посібник з курсу «Стилістика англійської мови« призначено

The main goal of teaching Modern English Stylistics as an academic

Stylistics (sometimes called linguo-stylistics) is a philological science

The scheme of stylistic analysis

PHONO-GRAPHICAL STYLISTIC DEVICES

The main spring of these stylistic devices is phoneme, the way of

MORPHEMIC STYLISTIC DEVICES

LEXICAL STYLISTIC DEVICES (TROPES)

Semasiology is a branch of linguistics devoted to the study of meaning

Figures of replacement (tropes)

Lexical Stylistic Devices are types of denoting phenomena that create

SYNTACTICAL STYLISTIC DEVICES

Syntactical Stylistic devices are based on the communicative type of the

Syntactical stylistic devices add logical, emotive, expressive infor-

PECULIAR USE OF SET-PHRASES

Set expressions are divided into:

The word-stock of any language is presented as a system, the elements

FUNCTIONAL STYLES OF THE ENGLISH LANGUAGE

There are five main functional styles in the English language.

I. Consider your answers to the following questions.

Alan Alexander Milne

Here is Edward Bear, coming downstairs now, bump, bump, bump, on

Test Your Knowledge

I. Match the following notions “style, norm, expressive means, stylistic

II. Decide what linguistic science (phonetics, lexicology, grammar) is

III. What is the origin of the term “Stylistics”?

IV. Name five main functional styles of the English language.

V. Identify the examples of alliteration in the following sentences.

VI. Identify the examples of assonance in the following sentences

VII. Identify the examples of onomatopoeia in the following sentences:

X. Decide what style a) newspaper, b) scientific, c) publicistic is repre-

I. Consider your answers to the following questions.

II. Find cases of antonomasia in the following sentences. Define their

IV. Explain the logical associations in the following groups of meaning

V. Analyse the process of development of new meanings in the itali-

The Caterpillar and Alice looked at each other in si-

Test Your Knowledge

Choose the correct variant.

IV. The key stylistic function of understatement (meiosis) is

V. The lexical device which deals with speaking names is called …

VI. Define the expressive means used in the following example:

VII. Define the expressive means used in the following example:

IX. Which key word creates the metaphor in these statements?

X. Identify any cases of metonymy in the following statements.

I. Consider your answers to the following questions.

Text for Analysis

There were eight Japanese gentlemen having a fish dinner at Bentley’s.

Test Your Knowledge

Choose the correct variant.

II. The deliberate omission of the conjunctions is named ….

V. The interrogative construction with the direct word order may be

VI. Define the type of repetition used in the following example.

I. Consider your answers to the following questions.

V. Find the euphemistic substitutes for the following words:

Text for Analysis

Test Your Knowledge

I. Match each figure of combination with its main stylistic feature:

II. Choose the correct variant: