Федеральное государственное бюджетное образовательное учреждение

высшего образования
"Курский государственный университет"

Стилистика
(практикум)

Курск 2022 г.
УДК 802/809 Печатается по решению редакционно-
издательского совета Курского государственного
ББК 81.2 университета
С 56

Рецензент:

Голощапова М.В., кандидат филологических наук, доцент кафедры

перевода и межкультурной коммуникации Курского государственного
университета;

С 56

Сотникова С.С., Петрова Е.А.

Стилистика (практикум): Учебно-методическое пособие для вузов / С.С.
Сотникова, Е.А. Петрова. – Курск: Курск гос. ун-т, 2022. – 59 с.

 Сотникова С.С., Петрова Е.А., 2022

© Курский государственный университет, 2022

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 Практическое занятие №1

General notes on style and stylistics

Be ready to discuss:
 Stylistics as a branch of linguistic science.
 The notion of style, expressive means, stylistic device, functional style,
norm.
 Types of stylistic research and branches of stylistics:
Literary and linguistic stylistics,
Comparative stylistics,
Decoding stylistics,
Functional stylistics,
Stylistic lexicology, Stylistic Phonetics, Stylistic Syntax, Stylistic
Morphology.
 Links of Stylistics with other linguistic disciplines

Практическое занятие №2

Stylistic Differentiation of the Vocabulary

Be ready to discuss:
 Literary Stratum of Words (common literary; terms; archaisms;
barbarisms (foreign words); neologisms)
 Neutral Words.
 Colloquial Words (common colloquial words; slang; jargonisms; vulgar
words; dialectal words; colloquial coinages)

Task for the Seminar:

Read the extracts and point out stylistically marked words. Define the purpose
of their use in the texts.
1) a) His short grey cloak and robe were rather of Flemish than of French
fashion... Over his left shoulder hung an embroidered scarf which sustained a
small pouch of scarlet velvet, such as was then used by fowlers of distinction to
carry their hawks' food... Instead of the boots of the period, he wore buskins of
half-dressed deer's-skin. (W. Scott). literary, archaisms
b) "Fellow," said Prince John, "I guessed by thy insolent babble thou wert no
true lover of the longbow, and I see thou darest not venture thy skill among such
merry-men as stand yonder." (W. Scott). literary, proper group

2) a) But with them George learned companionship, the fun of infinite,

everlasting arguments about "life" and ideas, the fun of making mots and
laughing freely. literary, barbarisms

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 b) Wait till the population of England is five hundred million and we're all
packed like herrings in a tub (Colloquial). Lovely. Wonderful. England über
alles! But there comes a time when there isn't enough bread for the growing
babies. (Aldington) literary, barbarisms; Colloquialisms, phonetic variant of
neutral words. Эллиптические конструкции (отсутствуют подлежащие и
сказуемые)

3) "Well, if you really want to know, you're such an ass." "An ass? How do you
mean an ass?
Do you mean a silly ass?" "I mean a goof," said the girl. "A gamp. A poop. A
nitwit and a returned empty. Your name came up the other day in the course of
conversation at home, and mother said you were a vapid and irreflective guffin,
totally lacking in character and order." "Oh?" said I. "She did, did she?"
(Wodehouse) Colloquialisms, interjections; literary coinages

4) a) "Wow! Put a sock in it!" "Muck off!"

"Ord'ly sergeants are cheap to-day!"
"Well, you muckers got to report to yer officers at once. 'Op it." (Aldington)
Colloquialisms, phonetic variant of neutral words
b) Bloody well find one, then. Yer'll want suthin' over yer muckin' grave in
France, won't yer? Yn' yer'll bloody well be in it in six months. No religion!
Strike me muckin' pink! (Aldington) literary, proper group; Colloquialisms,
phonetic variant of neutral words

5) They met and their hands instinctively clasped, by an interadjustment of the

bones known only in mankind and the higher apes but not seen in the dog.
For a moment the two lovers, for such their physiological symptoms, though in
themselves not dangerous, provided a proper treatment were applied without
delay, proclaimed them, were unable to find words. This, however, did not
indicate (see Barker on the Nervous System) an inhibition of the metabolism of
the brain but rather a peculiar condition of the mucous membrane of the lip, not
in itself serious.
Philip found words first. He naturally would, owing to the fact that in the male,
as Darwin first noticed, the control of the nerve-ganglions is more rigid than in
the female. (Leacock) literary, terms
(6)
As fair art thou, my bonnie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a' the seas gang dry:
Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun;
And I will luve thee still, my dear,

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While the sands o' life shall run. (Burns) literary, poetic

7) "An' is it mesilf, Dennis Hooligan that ye'd be takin' for a dirty Injin, ye
drawlin'! lantern-jawed spiderlegged divil! By the piper that played before
Moses, I'll ate ye!"' (Twain) proper group
ADDITIONAL TASKS

1. Point out stylistically marked words (neutral, formal, informal).

A В С
1. currency money dough
2. to talk to converse to chat
3. to chow down to eat to dine
4. to start to commence to kick off
5. insane nuts mentally ill
6. spouse hubby husband
7. to leave to withdraw to shoot off
8. geezer senior citizen old man
9. veracious opens sincere
10. mushy emotional sentimental

2. Determine the stylistic coloring of the words in bold (neutral, formal,

informal).
1. I expect you've seen my hand often enough coming out with the grub.
(Waugh) informal
2. She betrayed some embarrassment when she handed Paul the tickets, and a
hauteur which subsequently made her feel very foolish. (Cather) formal
3. I must be off to my digs. (Waugh) informal
4. When the old boy popped off he left Philbrick everything, except a few
books to Grade. (Waugh) informal
5. He looked her over and decided that she was not appropriately dressed and
must be a fool to sit downstairs in such togs. (Cather) informal
6. It was broken at length by the arrival of Flossie, splendidly attired in
magenta and green. (Waugh) formal

3. How do words contribute to creating the stylistic coloring of the following

texts? What functional meaning do they have: technical, poetic, bookish,
commercial, dialect, religious, elevated, colloquial, legal or other style? Make
a list of words that create this tone.
1. Whilst humble pilgrims lodged in hospices, a travelling knight would
normally stay with a merchant. (Rutherfurd)
2. Fo' what you go by dem, eh? Wy not keep to yo'self? Dey don' want you, dey
don' care fo' you. H' ain' you got no sense? (Dunbar-Nelson)
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3. They sent me down to the aerodrome next morning in a car. I made a check
over the machine, cleaned filters, drained sumps, swept out the cabin, and
refueled. Finally I took off at about ten thirty for the short flight down to Batavia
across the Sunda straits, and found the aerodrome and came on to the circuit
behind the Constellation of K. L. M. (Shute)
4. We ask Thee, Lord, the old man cried, to look after this childt. Fatherless he
is. But what does the earthly father matter before Thee? The childt is Thine, he
is Thy childt, Lord, what father has a man but Thee? (Lawrence)
5. We are the silver band the Lord bless and keep you, said the stationmaster in
one breath, the band that no one could beat whatever but two indeed in the
Eisteddfod that for all North Wales was look you.
I see, said the Doctor, I see. That's splendid. Well, will you please go into your
tent, the little tent over there.
To march about you would not like us? Suggested the stationmaster, we have a
fine flag look you that embroidered for us was in silks. (Waugh)
6. The evidence is perfectly clear. The deceased woman was unfaithful to her
husband during his absence overseas and gave birth to a child out of wedlock.
Her husband seemed to behave with commendable restraint and wrote nothing
to her which would have led her to take her life... The deceased appears to have
been the victim of her own conscience and as the time for the return of her
husband drew near she became mentally upset. I find that the deceased
committed suicide while the balance of her mind was temporarily deranged.
(Shute)
7. I say, I've met an awful good chap called Miles. Regular topper. You know,
pally. That's what I like about a really decent party - you meet such topping
fellows. I mean some chaps it takes absolutely years to know, but a chap like
Miles I feel is a pal straight away. (Waugh)
Я говорю: "Я познакомился с ужасно хорошим парнем по имени Майлз.
Обычный ботаник / классный парень. Знаете, приятель. Вот что мне
нравится в действительно приличных вечеринках – ты встречаешь таких
классных парней. С некоторыми парнями нужно потратить годы,
чтобы узнать их, но с такими, как Майлз, я сразу чувствую себя
его другом.

Stylistic Coloring: Colloquial, informal, friendly

Key Words: say, awful good chap, regular topper, pally, decent party, topping
fellows

Functional Meanings: Informal and conversational language fosters a sense of

camaraderie and ease, portraying the speaker's sociable nature in a vibrant,
relatable manner.

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8. She sang first of the birth of love in the hearts of a boy and a girl. And on the
topmost spray of the Rose-tree there blossomed a marvelous rose, petal
following petal, as song followed song. Pale was it, at first as the mist that hangs
over the river - pale as the feet of the morning. (Wilde)
9. He went slowly about the corridors, through the writing-rooms, smoking-
rooms, reception-rooms, as though he were exploring the chambers of an
enchanted palace, built and peopled for him alone.
When he reached the dining-room he sat down at a table near a window.
The flowers, the white linen, the many-coloured wine-glasses, the gay toilettes
of the women, the low popping of corks, the undulating repetitions of the Blue
Danube from the orchestra, all flooded Paul's dream with bewildering radiance.
(Cather)

Практическое занятие №3

Stylistic semasiology
Be ready to discuss the following:
 Figures of quality - Metaphorical group (metaphor, personification,
epithet, allusion, antonomasia, allegory, irony)

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 Tasks for the Seminar

1. Analyse the given cases of metaphor.

1. And the skirts! What a sight were those skirts! They were nothing but vast
decorated pyramids; on the summit of each was stuck the upper half of a
princess. (A. Bennett)
2. This tree is the god of the forest.
3. I was staring directly in front of me, at the back of the driver's neck, which
was a relief map of boil scars. (S.)
4. His voice was a dagger of corroded brass. (S. L.)
5. Wisdom has reference only to the past. The future remains for ever an
infinite field for mistakes. You can't know beforehand. (D. H. L.)
6. He felt the first watery eggs of sweat moistening the palms of his hands. (W.
S.)
7. He smelled the ever-beautiful smell of coffee imprisoned in the can. (J. St.)
8. We talked and talked and talked, easily, sympathetically, wedding her
experience with my articulation. (Jn. B.)
9. They walked along, two continents of experience and feeling, unable to
communicate. (W. G.)
10.“Whatever causes night in our souls may leave stars.” — Ninety-Three by
Victor Hugo
2. Analyse the given cases of personification.
1. Notre Dame squats in the dusk. (Hemingway)
2. Autumn comes And trees are shedding their leaves,
And Mother Nature blushes. Before disrobing. (West)
3. All the time the big Pacific Ocean suffered sharp pains down below, and
tossed about to prove it. May be from sympathy I was in the same fix. (Biggers)
4. The face of London was now strangely altered … the voice of Mourning
was heard in every street. (Defoe)
5. Here and there a Joshua tree stretched out hungry black arms as though to
seize these travelers by night, and over that gray waste a dismal wind moaned
constantly, chill and keen and biting. (Biggers)
6. Then the moon held a finger to her lips and the lake became a clear pool,
pale and quiet. (Fitzgerald)
7. The car ran a marathon down the highway / The car coughed, hacked, and
spluttered / The car tasted the bitter asphalt / The car needed a cold shower.

3. Define the type and function of epithets in the following examples:

1. He has that unmistakable tall lanky "rangy" loose-jointed graceful
closecropped formidably clean American look. (I. M.)
2. He’s a proud, haughty, consequential, turned-nosed peacock. (D.)
3. She has taken to wearing heavy blue bulky shapeless quilted People's
Volunteers trousers rather than the tight tremendous how-the-West-was-won
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trousers she formerly wore. (D. B.)
4. Harrison - a fine, muscular, sun-bronzed, gentle-eyed, patrician-nosed, steak-
fed, Gilman-Schooled, soft-spoken, well-tailored aristocrat was an out-and-out
leaflet-writing revolutionary at the time. (Jn. B.)
5. In the cold, gray, street-washing, milk-delivering, shutters coming-off-the-
shops early morning, the midnight train from Paris arrived in Strasbourg. (H.)
6. Her painful shoes slipped off (U.)
7. The Earth is crying-sweet and scattering-bright the air. (R. B.)
8. And she still has that look, that don't-you-touch-me look, that women who
were beautiful carry with them to the grave. (J. B.)
9. He loved the afterswim salt-and-sunshine smell of her hair. (Jn. B.)
10.She spent hausfrau afternoons hopping about in the sweatbox of her midget
kitchen. (Т. С.)
11.A branch, cracking under this weight sent through the tree a sad cruel
thunder. (T. C.)
12.He sat with Daisy in his arms for a long silent time. (Sc. F.)

4. Analyse the following cases of antonomasia. Indicate what additional

information is created by the use of antonomasia:
1. "You cheat, you no-good cheat-you tricked our son. Took our son with a
scheming trick, Miss Tomboy, Miss Sarcastic, Miss Sneerface." (Ph. R.)
2. I keep six honest serving-men They taught me all I know; Their names are
What and Why and When And How and Where and Who. (R. K.)
3. "Her mother is perfectly unbearable. Never met such, a Gorgon." "I don't
really know what a Gorgon is like, but I am quite sure, that Lady Bracknell is
one. In any case,' she is a monster without being a myth." (O. W.)
4. When Omar P. Quill died, his solicitors referred to him always as O.P.Q.
Each reference to O.P.Q. made Roger think of his grandfather as the middle of
the alphabet. (G. M.)
5. Cats and canaries had added to the already stale house an entirely new
dimension of defeat. As I stepped down, an evil-looking Tom slid by us into the
house. (W. Gl.)
6. Kate kept him because she knew he would do anything in the world if he were
paid to do it or was afraid not to do it. She had no illusions about him. In her
business Joes were necessary. (J. St.)
7. “He’s such a good guy. I enjoy his company so much! I just hope he’s Mr.
Right.”
8. We sat down at a table with two girls in yellow and three men, each one
introduced to us as Mr. Mumble. (Sc. F.)

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5. Find examples of irony in the following excerpts. Explain what conditions
made the realization of the opposite evaluation possible.
1. When the war broke out she took down the signed photograph of the Kaiser
and, with some solemnity, hung it in the men-servants' lavatory; it was her one
combative action. (E.W.)
2. England has been in a dreadful state for some weeks. Lord Coodle would go
out. Sir Thomas Doodle wouldn't come in, and there being nobody in Great
Britain (to speak of) except Coodle and Doodle, there has been no Government.
(D.)
3. From her earliest infancy Gertrude was brought up by her aunt. Her aunt had
carefully instructed her to Christian principles. She had also taught her
Mohammedanism, to make sure. (L.)
4. "She's a charming middle-aged lady with a face like a bucket of mud and if
she has washed her hair since Coolidge's second term, I'll cut my spare tire, rim
and all." (R. Ch.)
5. Several months ago a magazine named Playboy which concentrates
editorially on girls, books, girls, art, girls, music, fashion, girls and girls,
published an article about old-time science-fiction. (M. St.)
6. Bookcases covering one wall boasted a half-shelf of literature. (T. C.)
7. Last time it was a nice, simple, European-style war. (I. Sh.)
8. But every Englishman is born with a certain miraculous power that makes
him master of the world. As the great champion of freedom and national
independence he conquers and annexes half the world and calls it Colonization.
(B. Sh.)

Практическое занятие №4

Stylistic semasiology
Be ready to discuss the following:
 Figures of replacement (tropes)
1. Metonymic group (metonymy, synecdoche, periphrasis)
2. Figures of quantity (hyperbole, meiosis (understatement), litotes)

Tasks for the Seminar

1. Indicate metonymies, state the type of relations between the object named
and the object implied.
1. He went about her room, after his introduction, looking at her pictures, her
bronzes and clays, asking after the creator of this, the painter of that, where a
third thing came from. (Dr.)
2. Except for a lack of youth, the guests had no common theme, they seemed
strangers among strangers; indeed, each face, on entering, had struggled to
conceal dismay at seeing others there. (T. C.)

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3. Dinah, a slim, fresh, pale eighteen, was pliant and yet fragile. (C H.)
4. The White House released a statement last week.
5. "Some remarkable pictures in this room, gentlemen. A Holbein, two Van
Dycks and if I am not mistaken, a Velasquez. I am interested in pictures." (Ch.)
6. "You have nobody to blame but yourself." "The saddest words of tongue or
pen." (I. Sh.)
7. The boot of Europe is recognized for its gastronomy.
8. He made his way through the perfume and conversation. (I. Sh.)
9. At the convention, came the best pens of contemporary literature.
10. There you are at your tricks again. The rest of them do earn their bread; you
live on my charity. (E. Br.)

2. Identify the cases of hyperbole and understatement.

1. I was scared to death when he entered the room. (S.)
2. The girls were dressed to kill. (J. Br.)
3. Newspapers are the organs of individual men who have jockeyed themselves
to be party leaders, in countries where a new party is born every hour over a
glass of beer in the nearest cafe. (J. R.)
4. Four loudspeakers attached to the flagpole emitted a shattering roar of what
Benjamin could hardly call music, as if it were played by a collection of brass
bands, a few hundred fire engines, a thousand blacksmiths' hammers and the
amplified reproduction of a force-twelve wind. (A. S.)
5. The car which picked me up on that particular guilty evening was a Cadillac
limousine about seventy-three blocks long. (J. B.)
6. Her family is one aunt about a thousand years old. (Sc. F.)
7. The rain had thickened, fish could have swum through the air. (T. C.)
8. She wore a pink hat, the size of a button. (J. R.)
9. She busied herself in her midget kitchen. (T.C.)
10.And if either of us should lean toward the other, even a fraction of an inch,
the balance would be upset. (O. W.)
11.We danced on the handkerchief-big space between the speak-easy tables. (R.
W.)
12.The little woman, for she was of pocket size, crossed her hands solemnly on
her middle. (G.)

3. Analyse the given periphrases from the viewpoint of their semantic type,
structure, function and originality:
1. His face was red, the back of his neck overflowed his collar and there had
recently been published a second edition of his chin. (P. G. W.)
2. His huge leather chairs were kind to the femurs. (R. W.)
3. “He Who Must Not Be Named.” (R.)
4. The villages were full of women who did nothing but fight against dirt and
hunger and repair the effects of friction on clothes. (A. B.)

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5. I got away on my hot adolescent /ˌæd.əˈles.ənt/ feet as quickly as I could. (W.
G.)
6. I am thinking an unmentionable thing about your mother. (I. Sh.)
7. Jean nodded without turning and slid between two vermilion-coloured buses
so that two drivers simultaneously used the same qualitative word. (G.)
8. "Did you see anything in Mr. Pickwick's manner and conduct towards the
opposite sex to induce you to believe all this?" (D.)
9. Bill went with him and they returned with a tray of glasses, siphons and other
necessaries of life. (Ch.)
10.Naturally, I jumped out of the tub, and before I had thought twice, ran out
into the living room in my birthday suit. (В. М.)

4. Analyse the structure, the semantics and the functions of litotes:

1. "Yeah, what the hell," Anne said and looking at me, gave that not unsour
smile. (R. W.)
2. It was not unnatural if Gilbert felt a certain embarrassment. (E. W.)
3. The idea was not totally erroneous. The thought did not displease me. (I.
M.)
4. I was quiet, but not uncommunicative; reserved, but not reclusive;
energetic at times, but seldom enthusiastic. (Jn. B.)
5. He had all the confidence in the world, and not without reason. (J. O'H.)
6. Kirsten said not without dignity: "Too much talking is unwise." (Ch.)
7. "No, I've had a profession and then a firm to cherish," said Ravenstreet, not
without bitterness. (P.)
8. I felt 1 wouldn't say "no" to a cup of tea. (К. М.)
9. I wouldn't say "no" to going to the movies. (E. W.)
10. Still two weeks of success is definitely not nothing and phone calls were
coming in from agents for a week. (Ph. R.)

Практическое занятие №5

Stylistic semasiology
Be ready to discuss the following:
 Figures of co-occurrence
1. Figures of identity (simile)
2. Figures of inequality (climax (gradation), anti-climax, pun, zeugma)
3. Figures of contrast (antithesis, oxymoron)

Tasks for the Seminar

1. Discuss the following cases of simile.

1. Penny-in-the-slot machines stood there like so many vacant faces, their
dials glowing and flickering-for nobody. (B. N.)

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2. She was obstinate as a mule, always had been, from a child. (G.)
3. Six o'clock still found him in indecision. He had had no appetite for lunch
and the muscles of his stomach fluttered as though a flock of sparrows was
beating their wings against his insides. (Wr.)
4. And the cat, released, leaped and perched on her shoulder: his tail swinging
like a baton, conducting rhapsodic music. (T. C.)
5. My cat destroys furniture the way bulldozers destroy buildings.
6. Two footmen leant against the walls looking as waxen as the clumps of
flowers sent up that morning from hothouses in the country. (E. W.)
7. It was an unforgettable face, and a tragic face. Its sorrow welled out of it
as purely, naturally and unstoppably as water out of a woodland spring. (J. F.)
8. He ached from head to foot, all zones of pain seemingly interdependent.
He was rather like a Christmas tree whose lights wired in series, must all go out
if even one bulb is defective. (S.)
9. Indian summer is like a woman. Ripe, hotly passionate, but fickle, she
comes and goes as she pleases so that one is never sure whether she will come at
all nor for how long she will stay. (Gr. M.)
10. H. G. Wells reminded her of the rice paddies in her native California.
Acres and acres of shiny water but never more than two inches deep. (A. H.)
11. I'm not nearly hot enough to draw a word-picture that would do justice to
that extraordinarily hefty crash. Try to imagine the Albert Hall falling on the
Crystal Palace and you will have got the rough idea. (P. G. W.)
12. Someone might have observed in him a peculiar resemblance to those
plaster reproductions of the gargoyles of Notre Dame which may be seen in the
shop windows of artists' colourmen. (E. W.)

1 Simile: "like so many vacant faces" - This compares the machines to

vacant faces, highlighting their emptiness and lack of purpose.
Translation: "Автоматные аппараты стояли там как множество
пустых лиц, их циферблаты светились и мерцали - для никого."
2 Simile: "as obstinate as a mule" - This compares her stubbornness to that of a
mule, emphasizing her strong-willed nature.
Translation: "Она была упряма, как мул, всегда такой была с детства."

3Simile: "as though a flock of sparrows was beating their wings against his
insides" - This comparison illustrates his stomach discomfort in a vivid,
animalistic way.
Translation: "Шесть часов все еще находили его в раздумьях. У него не
было аппетита на обед, и мышцы его желудка трепетали, как будто стая
воробьев била крыльями против его внутренних органов."

4Simile: "like a baton, conducting rhapsodic music" - The cat's tail is compared

13
to a conductor’s baton, suggesting an elegant and rhythmic movement.
Translation: "И кот, высвободившись, прыгнул и уселся ей на плечо: его
хвост качался как дирижерская палочка, проводя рапсодическую музыку."

5Simile: "the way bulldozers destroy buildings" - This compares the cat’s
destructive behavior to that of bulldozers, underlining the efficiency and
thoroughness of the destruction.
Translation: "Моя кошка уничтожает мебель так, как бульдозеры
уничтожают здания."

6Simile: "as waxen as the clumps of flowers" - This emphasizes the footmen's
immobility and lifelessness by comparing them to wax figures.
Translation: "Два лакея опирались на стены, выглядя восковыми, как пучки
цветов, отправленные утром из теплиц в деревне."

7Simile: "as purely, naturally and unstoppably as water out of a woodland

spring" - This vivid comparison illustrates the outpouring of sorrow as
something natural and inevitable.
Translation: "Это было незабываемое лицо и трагическое лицо. Его скорбь
исходила из него так чисто, естественно и неудержимо, как вода из лесного
источника."

8Simile: "rather like a Christmas tree whose lights wired in series" - This
compares his pain to a series of lights: if one is faulty, all go out.
Translation: "Он болел от головы до ног, все зоны боли казались
взаимозависимыми. Он был похож на рождественскую елку, огни которой
соединены последовательно — если хотя бы одна лампочка неисправна,
все гаснут."

9Simile: "like a woman" - This compares Indian summer to a woman, capturing

its alluring yet unpredictable nature.
Translation: "Бабье лето похоже на женщину. Спелое, горячо страстное, но
изменчивое, оно приходит и уходит по своему усмотрению, так что
никогда не знаешь, придет ли оно вообще и как долго останется."

10Simile: "like the rice paddies" - This indicates a surface level beauty but
reveals a lack of depth.
Translation: "Г. Г. Уэллс напоминал ей рисовые поля в родной Калифорнии.
Акры и акры блестящей воды, но никогда более чем два дюйма в глубину."

11Simile: "like the Albert Hall falling on the Crystal Palace" - This simile
attempts to draw a dramatic picture of the crash in an exaggerated yet relatable
way.

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Translation: "Я даже не настолько горяч, чтобы создать словесную картину,
которая бы отразила эту исключительно жесткую катастрофу.
Постарайтесь представить, что Альберт Холл падает на Кристальный
Дворец, и вы получите общее представление."

12Simile: "a peculiar resemblance to those plaster reproductions" - This

compares his appearance to plaster reproductions, suggesting a certain
artificiality.
Translation: "Кто-то мог бы заметить в нем своеобразное сходство с
глиняными reproductions гагаритов Нотр-Дам, которые можно увидеть в
витринах магазинов художников."

2. Indicate the type of climax. Pay attention to its structure and the semantics
of its components:
1. He saw clearly that the best thing was a cover story or camouflage. As he
wondered and wondered what to do, he first rejected a stop as impossible, then
as improbable, then as quite dreadful. (W. G.)
2. "Is it shark?" said Brody. The possibility that he at last was going to
confront the fish-the beast, the monster, the nightmare-made Brody's heart
pound. (P. B.)
3. We were all in all to one another, it was the morning of life, it was bliss, it
was frenzy, it was everything else of that sort in the highest degree. (D.)
4. Like a well, like a vault, like a tomb, the prison had no knowledge of the
brightness outside. (D.)
5. "I shall be sorry, I shall be truly sorry to leave you, my friend." (D.)
6. "You have heard of Jefferson Brick, I see, Sir," quoth the Colonel with a
smile. "England has heard of Jefferson Brick. Europe has heard of Jefferson
Brick." (D.)
7. After so many kisses and promises-the lie given to her dreams, her words,
the lie given to kisses, hours, days, weeks, months of unspeakable bliss. (Dr.)
8. For that one instant there was no one else in the room, in the house, in the
world, besides themselves. (M. W.)

1Type of Climax: Gradational climax. The sequence of rejection escalates from

impossible to dreadful, building tension.
Translation: Он ясно увидел, что лучшее — это прикрытие или маскировка.
Размышляя над тем, что делать, он сначала отверг остановку как
невозможную, затем как маловероятную, затем как весьма ужасную.

2Type of Climax: Climactic tension with increasing anticipation. The buildup of

fear and realization leads to a dramatic emotional peak.

15
Translation: «Это акула?» — сказал Броди. Мысль о том, что он наконец
столкнется с рыбой — чудовищем, зверем, кошмаром — заставила сердце
Броди забиться быстрее.

3Type of Climax: Accumulative climax. The structure builds through a series of

equivalent phrases that intensify emotions and experiences.
Translation: Мы были всем друг для друга, это было утро жизни, это было
блаженство, это была неистовоcть, это было всё остальное в высшей
степени.

4Type of Climax: Analogical climax. The repetitive structure illustrates a deep

comparison that heightens the emotional intensity.
Translation: Как колодец, как свод, как гробница, тюрьма не знала о
яркости снаружи.

5Type of Climax: Emotional introspection climax. The simple yet profound

declaration demonstrates emotional conflict.
Translation: «Мне будет жаль, мне действительно будет жаль покидать
тебя, мой друг.»

6Type of Climax: Repetition climax. The repetition emphasizes the significance

of Jefferson Brick, building both reputation and expectation.
Translation: «Вы слышали о Джефферсоне Брике, я вижу, сэр,» — сказал
полковник с улыбкой. «Англия слышала о Джефферсоне Брике. Европа
слышала о Джефферсоне Брике.»

7Type of Climax: Emotional accumulation climax. The numerous components

build a crescendo of emotion leading to the final impact.
Translation: После стольких поцелуев и обещаний — лжи, данной ее
мечтам, ее словам, лжи, данной поцелуям, часам, дням, неделям, месяцам
несказанного блаженства.

8Type of Climax: Singular focus climax. The narrowing focus creates an intense
emotional isolation and connection between the two characters.
Translation: В этот миг в комнате, в доме, в мире не было никого другого,
кроме них самих.

3. Indicate the type of anticlimax.

1. Fledgeby hasn't heard of anything. "No, there's not a word of news," says
Lammle. "Not a particle," adds Boots. "Not an atom," chimes in Brewer. (D.)
2. The plane that Joanna was planning to board from Singapore crashed.
Almost everyone got injured and their baggage got misplaced.
3. The fire burnt Peter's house down and he lost his cell phone.

16
4. The enemies had conquered about three fourth of the Empire and the
Emperor realized he didn't have his breakfast.
5. Women have a wonderful instinct about things. They can discover
everything except the obvious. (O. W.)
6. This was appalling-and soon forgotten. (G.)
7. He was unconsolable-for an afternoon. (G.)
8. In moments of utter crises my nerves act in the most extraordinary way.
When utter disaster seems imminent my whole being is simultaneously braced
to avoid it. I size up the situation in a flash, set my teeth, contract my muscles,
take a firm grip of myself, and without a tremor always do the wrong thing." (B.
Sh.)

1Type of Anticlimax: Diminution (The buildup of the statements leads to a

trivial conclusion)
Translation: Фледжби не слышал ничего. «Нет, нет ни слова новостей,»
говорит Ламмл. «Ни одной частицы,» добавляет Бутс. «Ни одного атома,»
подхватывает Брюэр.

2Type of Anticlimax: Trivialization (The grave situation is minimized by the

less serious consequence)
Translation: Самолёт, на который Джоанна собиралась сесть в Сингапуре,
разбился. Практически все получили травмы, а их багаж был потерян.

3Type of Anticlimax: Trivialization (The serious loss of his house is

overshadowed by the loss of his phone)
Translation: Огонь сжёг дом Питера, и он потерял свой мобильный
телефон.

4Type of Anticlimax: Trivialization (The fall of the empire is downplayed by

the emperor’s personal concern about breakfast)
Translation: Враги захватили около трёх четвертей Империи, и Император
осознал, что не позавтракал.

5Type of Anticlimax: Trivialization (The praise is undermined by the final

statement)
Translation: У женщин есть удивительный инстинкт во всём. Они могут
обнаружить всё, кроме очевидного.

6Type of Anticlimax: Diminution (Significant event is dismissed as

unimportant)
Translation: Это было ужасно — и вскоре забыто.

7Type of Anticlimax: Diminution (Strong emotion is quickly diluted)

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Translation: Он был безутешен — в течение одного дня.

8Type of Anticlimax: Trivialization (The complexity of response leads to an

inadequate action)
Translation: В моменты полного кризиса мои нервы действуют самым
необычным образом. Когда полное бедствие кажется неминуемым, вся моя
сущность одновременно напрягается, чтобы его избежать. Я моментально
оцениваю ситуацию, сжимаю зубы, сокращаю мышцы, крепко
контролирую себя и всегда делаю не то, что надо, без единого дрожания.

4. Analyse various cases of play on words (pun) and zeugma, indicate which
type is used, how it is created, what effect it adds to the utterance:
1. After a while and a cake he crept nervously to the door of the parlour. (A. T.)
2. There are two things I look for in a man. A sympathetic character and full
lips. (I. Sh.)
3. Dorothy, at my statement, had clapped her hand over mouth to hold down
laughter and chewing gum. (Jn. B.)
4. I believed all men were brothers; she thought all men were husbands. I gave
the whole mess up. (Jn. B.)
5. Most women up London nowadays seem to furnish their rooms with nothing
but orchids, foreigners and French novels. (O. W.)
6. I'm full of poetry now. Rot and poetry. Rotten poetry. (H.)
7. "Bren, I'm not planning anything. I haven't planned a thing in three years...
I'm-I'm not a planner. I'm a liver." "I'm a pancreas," she said. "I'm a-" and she
kissed the absurd game away. (Ph. R.)
8. "Someone at the door," he said, blinking. "Some four, I should say by the
sound," said Fill. (A. T.)
9. Babbitt respected bigness in anything: in mountains, jewels, muscles, wealth
or words. (S. L.)
10.My mother was wearing her best grey dress and gold brooch and a faint pink
flush under each cheek bone. (W, Gl.)
11."There is only one brand of tobacco allowed here- "Three nuns. None today,
none tomorrow, and none the day after." (Вг. В.)
12.Some writer once said: "How many times you can call yourself a Man
depends on how many languages you know." (M. St.)
13. . ". . . and May's mother always stood on her gentility; and Dot's mother
never stood on anything, but her active little feet. " (Ch. Dickens)
14. "Clara ... was not a narrow woman either in mind or body." (J. Galsworthy.)
15. "The close of this creation brought him and the plate to the table." (Ch.
Dickens.)
16. "He had taken three weeks off and a ticket to Mentone. " (J. Galsworthy.)

18
17. Her cat is near the computer to keep an eye on the
mouse.
18. “They covered themselves with dust and glory.”
(M.T.)

Let's analyze the cases of wordplay (puns) and zeugma presented in the
sentences. I will identify the type used, explain how it’s created, and discuss the
effect it adds to the utterance. Additionally, I'll provide translations into Russian.

1. After a while and a cake he crept nervously to the door of the parlour. (A. T.)

Type: Pun

Creation: The phrase "after a while" is typically used in terms of passing time,
while "a cake" introduces an unexpected concrete item to the phrase, creating a
humorous image.

Effect: It adds absurdity and light-heartedness by juxtaposing the mundane with

the unexpected.

Translation: "Через некоторое время и торт он нервно подполз к двери

гостиной."

2. There are two things I look for in a man. A sympathetic character and full
lips. (I. Sh.)

Type: Pun

Creation: The phrase "full lips" plays on the idea of physical attraction,
contrasting with the emotional quality of "sympathetic character."

Effect: It creates a comedic contrast between emotional and physical attributes.

Translation: "Есть две вещи, которые я ищу в мужчине: sympathetic

character и полные губы."

3. Dorothy, at my statement, had clapped her hand over mouth to hold down
laughter and chewing gum. (Jn. B.)

Type: Zeugma

Creation: The verb "clapped" is used to coordinate two different actions:

covering her mouth and managing gum.

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Effect: This brings a humorous image of trying to suppress laughter while also
dealing with chewing gum.

Translation: "Дороти, услышав мое заявление, прижала руку к рту, чтобы

подавить смех и жевательную резинку."

4. I believed all men were brothers; she thought all men were husbands. I gave
the whole mess up. (Jn. B.)

Type: Pun

Creation: The play on "brothers" and "husbands" highlights the stark difference
in perspectives towards relationships.

Effect: It offers a comedic commentary on gender perceptions while conveying

disillusionment.

Translation: "Я верил, что все мужчины братья; она считала, что все
мужчины - мужья. Я сдался."

5. Most women up London nowadays seem to furnish their rooms with nothing
but orchids, foreigners and French novels. (O. W.)

Type: Pun

Creation: The triadic construction combines high culture (orchids, French

novels) with foreigners in a humorous, somewhat dismissive manner.

Effect: It portrays a stereotype about London women and their choices

whimsically.

Translation: "Большинство женщин в Лондоне сейчас, похоже,

обустраивают свои комнаты только орхидеями, иностранцами и
французскими романами."

6. I'm full of poetry now. Rot and poetry. Rotten poetry. (H.)

Type: Pun

Creation: The play on "full" and "rotten" creates a juxtaposition of high art vs.
something worthless.

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Effect: It provides a self-deprecating humor on the nature of poetry.

Translation: "Я сейчас полон поэзии. Чепуха и поэзия. Гнилая поэзия."

7. "Bren, I'm not planning anything. I haven't planned a thing in three years…
I'm-I'm not a planner. I'm a liver." "I'm a pancreas," she said. "I'm a-” and she
kissed the absurd game away. (Ph. R.)

Type: Pun/Zeugma

Creation: The play on organ metaphors creates a humorous dichotomy between

life functions and planning.

Effect: The absurdity of likening oneself to internal organs adds surreal humor.

Translation: "Брен, я ничего не планирую. За три года ни разу не

спланировала… Я не планировщик. Я печень." "Я поджелудочная," сказала
она. "Я-" и она убрала абсурдную игру поцелуем."

8. "Someone at the door," he said, blinking. "Some four, I should say by the
sound," said Fill. (A. T.)

Type: Pun

Creation: "Some four" plays with the idea of guessing the number based on
sound.

Effect: It creates a humorous confusion and misunderstanding about the number

of visitors.

Translation: "Кто-то у двери," сказал он, моргая. "Как минимум четверо,

судя по звуку," сказал Филл.

9. Babbitt respected bigness in anything: in mountains, jewels, muscles, wealth

or words. (S. L.)

Type: Zeugma

Creation: The list presents a range of abstract and concrete nouns connected
with "bigness," aligning various attributes humorously.

Effect: It reflects a superficial mindset fixated on size over substance.

21
Translation: "Баббит уважал величие во всем: в горах, драгоценностях,
мускулах, богатстве или словах."

10. My mother was wearing her best grey dress and gold brooch and a faint pink
flush under each cheekbone. (W. Gl.)

Type: Zeugma

Creation: The sentence uses "and" to connect clothing items to physical

attributes humorously.

Effect: It connects fashion and personal appearance in a poetic way.

Translation: "Моя мать была одета в лучшее серое платье, золотую брошь и
с легким розовым румянцем на каждой щеке."

11. "There is only one brand of tobacco allowed here- 'Three nuns. None today,
none tomorrow, and none the day after.'" (Вг. В.)

Type: Pun

Creation: The phrase plays on the word "none" meaning both lack of something
and the noun "nuns."

Effect: The humor arises from the absurdity in the idea of nuns being equated
with tobacco.

Translation: "Здесь разрешена лишь одна марка табака - 'Три монахини. Ни

сегодня, ни завтра, ни послезавтра.'"

12. Some writer once said: "How many times you can call yourself a Man
depends on how many languages you know." (M. St.)

Type: Pun

Creation: The sentence plays with the word "Man" suggesting that language
knowledge defines masculinity.

Effect: It reflects on cultural issues of identity humorously.

Translation: "Как говорил один писатель: 'Сколько раз ты можешь назвать

себя мужчиной, зависит от того, сколько языков ты знаешь.'"

22
13. "… and May's mother always stood on her gentility; and Dot's mother never
stood on anything, but her active little feet." (Ch. Dickens)

Type: Pun

Creation: The phrase plays on "stood on" and contrasts societal status versus
physical activity.

Effect: It humorously juxtaposes two different societal roles represented by the

mothers.

Translation: "… и мать Мэй всегда стояла на своей аристократичности; а

мать Дот никогда ни на чем не стояла, кроме ее деятельных маленьких
ног."

14. "Clara … was not a narrow woman either in mind or body." (J. Galsworthy.)

Type: Zeugma

Creation: The usage of "narrow" ambiguously applies to both mental and

physical characteristics.

Effect: It creates a dual meaning that humorously captures the essence of the
character.

Translation: "Клара … не была узкой женщиной ни в душе, ни в теле."

15. "The close of this creation brought him and the plate to the table." (Ch.
Dickens.)

Type: Zeugma

Creation: The phrase uses "brought" to connect a person to a physical plate,

mingling the abstract and the concrete.

Effect: It humorously creates an image of an event connecting people and

objects.

Translation: "Законченная работа привела его и тарелку к столу."

16. "He had taken three weeks off and a ticket to Mentone." (J. Galsworthy.)

Type: Zeugma

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Creation: The phrase connects "three weeks off" with "a ticket to Mentone,"
merging time off with travel humorously.

Effect: It suggests that the vacation is both a break from work and a means to
adventure.

Translation: "Он взял три недели отдыха и билет в Ментон."

17. Her cat is near the computer to keep an eye on the mouse.

Type: Pun

Creation: The word "mouse" has a double meaning, referring to a computer

device and an actual mouse.

Effect: It creates a humorous visual of a cat’s role in both realms.

Translation: "Ее кошка рядом с компьютером, чтобы присматривать за

мышью."

18. "They covered themselves with dust and glory." (M.T.)

Type: Zeugma

Creation: "Covered" applies to both "dust" and "glory," contrasting the mundane
with the magnificent.

Effect: It highlights a dichotomy between success and struggle humorously.

Translation: "Они покрыли себя пылью и славой."

These analyses illustrate how wordplay can create humor and depth in writing.
Different forms serve various stylistic purposes, reflecting the richness of
language.

5. Discuss the structural peculiarities of antithesis.

1. Mrs. Nork had a large home and a small husband. (S. L.)
2. Don't use big words. They mean so little. (O. W.)
3. I like big parties. They're so intimate. At small parties there isn't any
privacy. (Sc. F.)
4. Such a scene as there was when Kit came in! Such a confusion of tongues,

24
before the circumstances were related, and the proofs disclosed! Such a dead
silence when all was told! (D.)
5. His coat-sleeves being a great deal too long, and his trousers a great deal
too short, he appeared ill at ease in his clothes. (D.)
6. It is safer to be married to the man you can be happy with than to the man
you cannot be happy without. (E.)
7. Keep your mouth closed and your eyes open.

Mrs. Nork had a large home and a small husband.

Миссис Норк имела большой дом и маленького мужа.

Don't use big words. They mean so little.

Не употребляйте больших слов. Они так мало значат.

I like big parties. They're so intimate. At small parties there isn't any privacy.
Мне нравятся большие вечеринки. Они такие интимные. На маленьких
вечеринках нет никакой приватности.

Such a scene as there was when Kit came in! Such a confusion of tongues,
before the circumstances were related, and the proofs disclosed! Such a dead
silence when all was told!

Какая сцена была, когда Кит вошел! Какое смятение языков, прежде чем
обстоятельства были рассказаны, и улики раскрыты! Какое мёртвое
молчание было, когда все было сказано!

His coat-sleeves being a great deal too long, and his trousers a great deal too
short, he appeared ill at ease in his clothes.

Его рукава пальто были слишком длинными, а брюки слишком короткими,

и он выглядел неловко в своей одежде.

It is safer to be married to the man you can be happy with than to the man you
cannot be happy without.

Безопаснее быть замужем за человеком, с которым вы можете быть

счастливы, чем за человеком, без которого вы не сможете быть счастливы.

Keep your mouth closed and your eyes open.

25
Держите рот закрытым и глаза открытыми.

In each of these sentences, the use of antithesis highlights the contrasting ideas,
enhancing the overall meaning and impact of the statements.

6. Indicate oxymoron on the following sentences, its structure and semantics.

1. He caught a ride home to the crowded loneliness of the barracks. (J.)
2. Sprinting towards the elevator he felt amazed at his own cowardly courage.
(G. M.)
3. There were some bookcases of superbly unreadable books. (E. W.)
4. Harriet turned back across the dim garden. The lightless light looked down
from the night sky. (I. M.)
5. Sara was a menace and a tonic, my best enemy; Rozzie was a disease, my
worst friend. (J. Car.)
6. It was an open secret that Ray had been ripping his father-in-law off. (D. U.)
7. A neon sign reads "Welcome to Reno-the biggest little town in the world."
(A. M.)
8. Huck Finn and Holden Caulfield are Good Bad Boys of American literature.
(V.)

1. **"He caught a ride home to the crowded loneliness of the barracks."**

- **Oxymoron**: "crowded loneliness"
- **Structure**: Adjective + Noun
- **Semantics**: Combines contradictory qualities, suggesting that even in a
crowded place, one can feel intensely lonely.
- **Russian Translation**: "Он поехал домой в людную одиночество
казармы."

2. **"Sprinting towards the elevator he felt amazed at his own cowardly

courage."**
- **Oxymoron**: "cowardly courage"
- **Structure**: Adjective + Noun
- **Semantics**: Implies a paradox where courage and cowardice coexist,
showing that his bravery is undermined by his fear.
- **Russian Translation**: "Бегая к лифту, он был поражен своей
трусливой храбростью."

3. **"There were some bookcases of superbly unreadable books."**

- **Oxymoron**: "superbly unreadable"
- **Structure**: Adverb + Adjective

26
 - **Semantics**: Describes books that are visually impressive but difficult or
impossible to read, emphasizing a gap between appearance and utility.
- **Russian Translation**: "Там были книжные шкафы с великолепно
нечитаемыми книгами."

4. **"Harriet turned back across the dim garden. The lightless light looked down
from the night sky."**
- **Oxymoron**: "lightless light"
- **Structure**: Adjective + Noun
- **Semantics**: Suggests a dim or faint glow, possibly moonlight, which has
an essence of light yet lacks brightness.
- **Russian Translation**: "Харриет вернулась через тусклый сад.
Безсветный свет смотрел вниз с ночного неба."

5. **"Sara was a menace and a tonic, my best enemy; Rozzie was a disease, my
worst friend."**
- **Oxymoron**: "best enemy" and "worst friend"
- **Structure**: Adjective + Noun (for both pairs)
- **Semantics**: "Best enemy" suggests a rival with admirable qualities,
while "worst friend" implies a friend who causes harm, highlighting complex
relationships.
- **Russian Translation**: "Сара была угрозой и тоником, моим лучшим
врагом; Рози была болезнью, моим худшим другом."

6. **"It was an open secret that Ray had been ripping his father-in-law off."**
- **Oxymoron**: "open secret"
- **Structure**: Adjective + Noun
- **Semantics**: Refers to information that is supposed to be hidden but is
widely known, capturing a paradox between privacy and publicity.
- **Russian Translation**: "Это был секрет Полишинеля, что Рэй
обкрадывал своего тестя."

7. **"A neon sign reads 'Welcome to Reno-the biggest little town in the
world.'"**
- **Oxymoron**: "biggest little town"
- **Structure**: Adjective + Adjective + Noun
- **Semantics**: "Biggest little town" combines "big" and "little," indicating
that Reno is small in size but significant or prominent in impact.
- **Russian Translation**: "Неоновая вывеска гласит: 'Добро пожаловать в
Рино — самый большой маленький город в мире.'"

8. **"Huck Finn and Holden Caulfield are Good Bad Boys of American
literature."**

27
 - **Oxymoron**: "Good Bad Boys"
- **Structure**: Adjective + Adjective + Noun
- **Semantics**: "Good Bad Boys" suggests characters who have moral flaws
yet are likable or possess redeeming qualities, contrasting goodness with
rebellion.
- **Russian Translation**: "Гек Финн и Холден Колфилд — это хорошие
плохие мальчики американской литературы."

28
 ADDITIONAL TASKS

1. Indicate the type of stylistic figure:

1. He has a tongue like a sword and a pen like a dagger. (H. Caine)
2. You talk exactly like my father! The laugh in her eyes died out... (M.
Spillane)
3. The grin made his large teeth resemble a dazzling miniature piano keyboard
in the green light. (J. Jones)
4. It was his habit not to jump or leap at anything in life but to crawl at
everything. (Dickens)
5. He earns his living by his pen. (S. Maugham)
6. I came to the place where the Stars and Stripes stood shoulder to
shoulder with the Union Jack. (Steinbeck)
7. ... whispered the spinster aunt with true spinster-aunt-like envy. (Dickens)
8. A lock of hair fell over her eye and she pushed it back with a tired, end-of-
the-day gesture. (J. Braine)
9. The money she had accepted was two soft, green, handsome ten-dollar bills.
(Dreiser)
10. Did you hit a woman with a child? - No, sir, I hit her with a brick. (Th.
Smith)
11. She was not without realization already that this thing was impossible, so far
as she was concerned. (Dreiser)
12. Joe Clegg also looked surprised and possibly not too pleased. (Christie)
13. Every Caesar has his Brutus. (O. Henry)
14. There are three doctors in an illness like yours... Dr. Rest, Dr. Diet and Dr.
Fresh air. (D. Cusack)
15. I expect you 'd like a wash,' Mrs. Thompson said. 'The bathroom 's to the
right and the usual offices next to it'. (J. Braine)
16. "Christ, it's so funny! Madame Bovary at Columbia Extension School!"
(Salinger)
17. Break, break, break On the cold gray stones, О Sea! (A. Tennison)
18. To look at Montmorency, you would imagine that he was an angel sent upon
the earth. At first I never thought he would survive. I used to sit down and look at
him as he sat on the rug and looked up at me, and think: "Oh, that dog will never
live. He will be taken to the bright skies in a chariot, that's what will happen to
him ". But when I had paid for about a dozen chickens that he had killed... then I
began to think that maybe they would let him remain on earth a bit longer.
(Jerome)

2. Indicate the type of stylistic figure:

1. I went out and caught the boy and shook him until his freckles rattled.
2. «Enough», says Bill. «In ten minutes I shall cross the Central, Southern, and
Middle Western States, and be legging it trippingly for the Canadian border».

29
3. The deadly.45 of the false friend cracked and filled the gorge with a roar that
the walls hurled back with indignant echoes.
4. A dead leaf fell in Soapy's lap. That was Jack Frost's card. Jack is kind to the
regular denizens of Madison Square, and gives fair warning of his annual call.
5. «I ain't attempting», says he, «to decry the celebrated moral aspect of
parental affection, but we're dealing with humans, and it ain't human for
anybody to give up two thousand dollars for that forty-pound chunk of
freckled wildcat».
6. «Tell you the truth, Bill», says I, «this little he ewe lamb has somewhat
got on my nerves too. We'll take him home, pay the ransom, and make our
getaway».
7. Shark Dodson and Bob Tidball, scorning to put such low-grade ore as the
passengers through the mill, struck out for the rich pocket of the express-car.
8. One more night of this kid will send me to a bed in Bedlam.
9. «I never lost my nerve yet till we kidnapped that two-legged skyrocket of a
kid.»
10. There was a town down there, as flat as a flannel-cake, and called
Summit, of course.
11. That boy put up a fight like a welter-weight cinnamon bear; but, at last, we
got him own in the bottom of the buggy and drove away.
13. Bill gets down on his all fours, and a look comes in his eye like a
rabbit's when you catch it in a trap.
14. When the kid found out we were going to leave him at home he started up
a howl like a calliope and fastened himself as tight as a leech to Bill's leg. His
father peeled him away gradually, like a porous plaster.
15. They weren't yells, or howls, or shouts, or whoops, or yawps, such as you'd
expect from a manly set of vocal organs – they were simply indecent, terrifying,
humiliating screams, such as women emit when they see ghosts or caterpillars.

3. Indicate the type of stylistic figure:

1. "He was drawing her by the stream," said Poirot,"... but it wouldn't stop
him killing her, though." Then he pointed to a penciled word across the top left
hand corner" ... She spelt it out slowly. "Iphigenia." "Yes," said Poirot,
'Iphigenia. Agamemnon sacrificed his daughter, so that he could get a wind to
take his ship to Troy. Michael would have sacrificed his daughter, so that he
should have a new Garden of Eden." (A. Christie "Hallowe'en Party")
2. Now when you have parted with a man at two o'clock in the morning, on
terms of the utmost good fellowship, and he meets you again, at half-past
nine, and greets you as a serpent, it is not unreasonable to conclude that
something of an unpleasant nature had occurred meanwhile. (Dickens)
3. Give me a thousand kisses, then a hundred,
Then another thousand, then a second hundred,
Then still another thousand, then a hundred (Catullus)

30
4. "Well", thought Alice to herself, "after such a fall as this, I shall think
nothing of tumbling down stairs. How brave they'll all think me at home! Why, I
wouldn't say anything about it, even if I fell off the top of the house … "(Which
was very likely true) - L. Carroll
5. The wind was a torrent of darkness among the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding-Riding-riding-
The highwayman came riding, up to the old inn-door. (The Highwayman by
Alfred Noyes)
6. "And the first cab having been fetched from the public house, where he had
been smoking his pipe, Mr. Pickwick and his portmanteaus were thrown into the
vehicle." Ch. Dickens
7. "And Harold stands upon the place of skulls, The grave of France, the
deadly Waterloo." (Byron)
8. "Earth raised up her head
From the darkness dread and drear,
Her light fled,
Stony, dread,
And her locks covered with grey despair." (William Blake)
9. I am a vagabond of the harum-scarum order, and not of the mean sort...
With patience, which most other princes would have considered as degrading,
and not without a sense of amusement, the Monarch of France waited till his
Life-guardsman had satisfied the keenness of a youthful appetite. (W. Scott)
10. "There are three 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'm referring to
are Dr. Rest, Dr. Diet and Dr. Fresh Air". (D. Cusack)
11. "When my missus gets sore she is as hot as an oven."(D.S.)
12. "Ne barrier wall, ne river deep and wide, Ne horrid crags, nor mountains
dark and tall Rise like the rocks that part Hispania's land from Gaul."(Byron)
13. Little by little, bit by bit, and day by day, and year by year the baron got
the worst of some disputed question. Ch. Dickens
14. His speech had a jerky, metallic rhythm, like a teletype. (Т. С.)
15. "...Lost, faded, broken, dead within an hour." (William Shakespeare)
16. As he thought of it, a sharp pang of pain struck through him as a knife...
(O. Wilde)
17. Dora was plunging at once into privileged intimacy and into the middle of
the room. (B. Show)
18. The children began upon the chocolate biscuits and ended with a fight for
the last piece of bread. (A.J. Cronin)
19. I hadn't stuttered once in five days and nights. In a minor way it was like
being able to throw down your crutches and stride away from the spring at
Lourdes. (I. Shaw)

31
20. "Out of its vivid disorder comes order; from its rank smell rises the good
aroma of courage and daring; out of its preliminary shabbiness comes the final
splendor. And buried in the familiar boasts of its advance agents lies the
modesty of most of its people." (E.B. White,)
21. "Too brief for our passion too long for our peace Were these ours - can
their joy Or their bitterness cease" (J. Byron)
22. "The holy passion of Friendship is of so sweet and steady and loyal and
enduring a nature that it will last through a whole lifetime, if not asked to lend
money."(Mark Twain)

Практические занятия №6-7

Stylistic phonetics, graphons

Be ready to discuss the following:
 Sound-instrumenting. Cases of sound-instrumenting.
 Graphon. Types and functions of graphon.
 The main cases of morphemic foregrounding. The functions of
morphemic repetition.
 Occasional words. Difference between occasional words and
neologisms.

Tasks for the Seminar

1. Indicate the causes and effects of the following cases of alliteration,

assonance and onomatopoeia:
1. Streaked by a quarter moon, the Mediterranean shushed gently into the beach.
(I.Sh.)
2. He swallowed the hint with a gulp and a gasp and a grin. (R. K.)
3. His wife was shrill, languid, handsome and horrible. (Sc.F.)
4. The fair breeze blew, the white foam flew, the furrow followed free. (S. C.)
5. The Italian trio tut-tutted their tongues at me. (T.C.)
6. "You, lean, long, lanky lath of a lousy bastard!" (O'C.)
7. To sit in solemn silence in a dull dark dock, In a pestilential prison, with a
life-long lock, Awaiting the sensation of a short, sharp shock From a cheap and
chippy chopper On a big black block. (W.C.)
8. They all lounged, and loitered, and slunk about, with as little spirit or purpose
as the beasts in a menagerie. (D.)
9. "Luscious, languid and lustful, isn't she?" "Those are not the correct epithets.
She is - or rather was - surly, lustrous and sadistic." (E.W.)
10. Then, with an enormous, shattering rumble, sludge-puff, sludge-puff, the
train came into the station. (A.S.)
11. "Sh-sh."
"But I am whispering." This continual shushing annoyed him. (A.H.)

32
12. Twinkle, twinkle, little star, How I wonder what you are. Up above the
world so high, Like a diamond in the sky. (Ch. R.)
13. Dreadful young creatures - squealing and squawking. (C.)
14. The quick crackling of dry wood aflame cut through the night. (Sl.H.)
15. Here the rain did not fall. It was stopped high above by that roof of green
shingles. From there it dripped down slowly, leaf to leaf, or ran down the stems
and branches. Despite the heaviness of the downpour which now purred loudly
in their ears from just outside, here there was only a low rustle of slow
occasional dripping. (J.)

2. Indicate the kind of additional information about the speaker supplied by

graphon:
1. "Hey," he said, entering the library. "Where's the heart section?" "The what?"
He had the thickest sort of southern Negro dialect and the only word that came
clear to me was the one that sounded like heart. "How do you spell it," I said.
"Heart, Man, pictures. Drawing books. Where you got them?" "You mean art
books? Reproductions?" He took my polysyllabic word for it. "Yea, they's
them." (Ph. R.)
2. "It don't take no nerve to do somepin when there ain't nothing else you can do.
We ain't gonna die out. People is goin' on - changin' a little may be - but goin'
right on." (J. St.)
3. "And remember, Mon-sewer O'Hayer says you got to straighten up this mess
sometime today." (J.)
4. "I even heard they demanded sexual liberty. Yes, sir, Sex-You-All liberty." (J.
K.)
5. "Ye've a duty to the public don'tcher know that, a duty to the great English
public?" said George reproachfully. "Here, lemme handle this, kiddar," said
Tiger. "Gorra maintain strength, you," said George. "Ah'm fightin' fit," said
Tiger. (S. Ch.)
6. "Oh, that's it, is it?" said Sam. "I was afeerd, from his manner, that he might
ha' forgotten to take pepper with that 'ere last cowcumber, he et. Set down, sir,
ve make no extra charge for the settin' down, as the king remarked when he
blowed up his ministers." (D.)
7. "Well, I dunno. I'll show you summat." (St.B.)
8. "De old Foolosopher, like Hickey calls yuh, ain't yuh?" (O'N.)
9. "I had a coach with a little seat in fwont with an iwon wail for the dwiver."
(D.)
10. "The Count," explained the German officer, "expegs you, chentlemen, at
eight-dirty." (С. Н.)
11. Said Kipps one day, "As'e - I should say, ah, has'e... Ye know, I got a lot of
difficulty with them two words, which is which." "Well, "as" is a conjunction,
and "has" is a verb." "I know," said Kipps, "but when is "has" a conjunction, and
when is "as" a verb?" (H. W.)

33
12. Wilson was a little hurt. "Listen, boy," he told him. "Ah may not be able to
read eve'thin' so good, but they ain't a thing Ah can't do if Ah set mah mind to
it." (N.M.)
3. State the functions and the type of the following graphical expressive
means:
1. Piglet, sitting in the running Kanga's pocket, substituting the kidnapped Roo,
thinks:
this shall take
"If is I never to
flying really it." (M.)
2. Kiddies and grown-ups too-oo-oo We haven't enough to do-oo-oo. (R. K.)
3. "Hey," he said "is it a goddamn cardroom? or a latrine? Attensh -- HUT! Da-
ress right! DHRESS! (J.)
4. "When Will's ma was down here keeping house for him - she used to run in to
see me, real often." (S.L.)
5. He missed our father very much. He was s-l-a-i-n in North Africa. (S.)
6. "We'll teach the children to look at things. Don't let the world pass you by, I
shall tell them. For the sun, I shall say, open your eyes for that laaaarge sun....."
(A. W.)
7. "Now listen, Ed, stop that, now. I'm desperate. I am desperate, Ed, do you
hear?" (Dr.)
8. "Adieu you, old man, grey. I pity you, and I de-spise you." (D.)
9. "ALL our troubles are over, old girl," he said fondly. "We can put a bit by
now for a rainy day." (S.M.)

4. Slate the function of graphon in captions, posters, advertisements, et c.

repeatedly used in Americas press, TV, roadside advertising:
1. Weather forecast for today: Hi 59, Lo 32, Wind lite,
2. We recommend a Sixty-seconds meal-Steak-Umm.
3. Choose the plane with "Finah Than Dinah" on its side"
4. Best jeans for this Jeaneration.
5. Follow our advice: Drinka Pinta Milka Day.
6. Terry's Floor Fashions: We make ' e m -you walk on ’em.
7. Our offer is S 15.00 per WK.
8. Thanx for the purchase.
9. Ev'ybody uses our wunnerful Rackfeed Drills.

5. Analise the following extract from Artemus us Ward:

"Sit down, my fren? sed the man in black close; “yu mis komprehend
me. I meen that the perlitercal ellennunts are orecast with black
klouds, 4 boden a friteful storm."
"Wall," replide I, "in regard to perlittercal ellerfunts i don't know
as how but what they is as good as enny other kind of ellerfunts. But

34
i maik bold to say thay is all a ornery set and unpleasant to hav
round. They air powerful hevy eaters and take up a right smart chans
of room."
The man in black close rusht up to me and sed, "How dair yu insult
my neece, yu horey heded vagabone? Yu base exhibbiter of low wax
figgers-you woolf in sheep's close," and sow 4th.

6. State the function of the following cases of morphemic repetition:

1. She unchained, unbolted and unlocked the door. (A.B.)
2. It was there again, more clearly than before: the terrible expression of pain in
her eyes; unblinking, unaccepting, unbelieving pain. (D.U.)
3. We were sitting in the cheapest of all the cheap restaurants that cheapen that
very cheap and noisy street, the Rue des Petites Champs in Paris. (H.)
4. Young Blight made a great show of fetching from his desk a long thin
manuscript volume with a brown paper cover, and running his finger down the
day's appointments, murmuring: "Mr. Aggs, Mr. Baggs, Mr. Caggs, Mr. Daggs,
Mr. Faggs, Mr. Gaggs, Mr. Boffin. Yes, sir, quite right. You are a little before
your time, sir." (D.)
5. Young Blight made another great show of changing the volume, taking up a
pen, sucking it, dipping it, and running over previous entries before he wrote.
As, "Mr. Alley, Mr. Bailey, Mr. Calley, Mr. Dalley, Mr. Falley, Mr. Galley, Mr.
Halley, Mr. Lalley, 'Mr. Malley. And Mr. Boffin." (D.)
6. New scum, of course, has risen to take the place of the old, but the oldest
scum, the thickest scum, and the scummiest scum has come from across the
ocean. (H.)
7. At the time light rain or storm darked the fortress I watched the coming of
dark from the high tower. The fortress with its rocky view showed its temporary
darkling life of lanterns. (Jn. H.)
8. Laughing, crying, cheering, chaffing, singing, David Rossi's people brought
him home in triumph. (H.C.)
9. In a sudden burst of slipping, climbing, jingling, clinking and talking, they
arrived at the convent door. (D.)
10. The procession then re-formed; the chairmen resumed their stations, and the
march was re-commenced. (D.)
11. The precious twins - untried, unnoticed, undirected - and I say it quiet with
my hands down - undiscovered. (S.)
12. We are overbrave and overfearful, overfriendly and at the same time
frightened of strangers, we're oversentimental and realistic. (P.St.)
13. There was then a calling over of names, and great work of singeing, sealing,
stamping, inking, and sanding, with exceedingly blurred, gritty and
undecipherable results. (D.)
14. The Major and the two Sportsmen form a silent group as Henderson, on the
floor, goes through a protracted death agony, moaning and gasping, shrieking,

35
muttering, shivering, babbling, reaching upward toward nothing once or twice
for help, turning, writhing, struggling, giving up at last, sinking flat, and finally,
after a waning gasp lying absolutely still. (Js.H.)
15. She was a lone spectator, but never a lonely one, because the warmth of
company was unnecessary to her. (P. Ch.)

7. Analyze the morphemic structure and the purpose of creating occasional

words in the following examples:
1. The girls could not take off their panama hats because this was not
far from the school gates and hatlessness was an offence. (M. Sp.)
2. David, in his new grows-upness, had already a sort of authority. (I.
M.)
3. That fact had all the unbelievableness ,of the sudden wound.
(R.W.)
4. Suddenly he felt a horror of her otherness. (J. B.)
5. Lucy wasn't Willie's luck. Or his unluck either. (R.W.)
6. She was waiting for something to happen or for everything to un-
happen. (T. H.)
7. He didn't seem to think that that was very funny. But he didn't seem
to think it was especially unfunny. (R. W.)
8. "You asked him." "I'm un-asking him," the Boss replied. (R. W.)
9. He looked pretty good for a fifty-four-year-old former college
athlete who for years had overindulged and underexercized. (D. U.)
10. She was a young and unbeautiful woman. (I. Sh.)
11. The descriptions were of two unextraordinary boys: three and a half
and six years old. (D. U.)
12. The girl began to intuit what was required of her. (Jn. H.)
13. "Mr. Hamilton, you haven't any children, have you?" "Well, no.
And I'm sorry about that, I guess. I am sorriest about that." (J.St.)
14. "To think that I should have lived to be good-morn inged by
Belladonna Took's son!"(A.T.)
15. Parritt turns startledly. (O'N.)
16. The chairs are very close together-so close that the advisee almost
touches knees with the adviser. (Jn. B.)

8. Discuss the following cases of morphemic foregrounding:

1. The District Attorney's office was not only panelled, draped and
carpeted, it was also chandeliered with a huge brass affair hanging from the
center of the ceiling. (D. U.)
2. He's no public offender, bless you, now! He's medalled and
ribboned, and starred, and crossed, and I don't know what all'd, like a
born nobleman. (D.)

36
3. I gave myself the once-over in the bathroom mirror: freshly shaved,
clean-shirted, dark-suited and neck-tied. (D. U.)
4. Well, a kept woman is somebody who is perfumed, and clothed, and
wined, and dined, and sometimes romanced heavily. (Jn.C.)
5. It's the knowledge of the unendingness and of the rep etitious
uselessness that makes Fatigue fatigue. (J.)
6. The loneliness would suddenly overcome you like lostness and too-
lateness, and a grief you had no name for. (R. W.)
7. I came here determined not be angry, or weepy, or preachy. (U.)
8. Militant feminists grumble that history is exactly what it says His-
story-and not Her story at all. (D. B.)
9. This dree to-ing and fro-ing persisted throughout the night and the next
day. (D. B.I
10. "I love you mucher." "Plently mucher? Me tooer." (J. Br.)
11. "I'm going to build me the God-damnedest, biggest, chromium-
platedest, formaldehyde-stinkingest free hospital and health center."" (R. W.)
12. So: I'm not just talented. I'm geniused. (Sh. D.)
13. Chickens-the liny balls of fluff passed on into seminaked
pullethood and from that into dead henhood. (Sh. A.)
14. I'll disown you, I’ll disinherit you, I'll unget you. (R. Sh.)
15. "Ready?" said the old gentleman, inquiringly, when his guests had
been washed, mended, brushed, and brandied. (D.)

Additional tasks:

1. Think of the causes originating graphon (young age, a physical defect of

speech, lack of education, the influence of dialectal norms, affectation,
intoxication, carelessness in speech, etc.):
1. He began to render the famous tune “I lost my heart in an English garden, Just
where the roses of England grow” with much feeling:
“Ah_ee last mah_ee hawrt een ahn Angleesh gawrden, Jost whahr thah rawzaz
ahv Angland graw.” (H.C.)
2. The stuttering film producer S.S. Sisodia was known as ‘Whiwhisky because
I’m papa partial to a titi tipple; mamadam, my caca card.’ (S.R.)
3. She mimicked a lisp: “I don’t weally know wevver I’m a good girl. The last
thing he’ll do would be to be mixed with a howid woman.” (J.Br.)
4. “All the village dogs are no’count mongrels, Papa says. Fish gut eaters and no
class atall; this here dog, he got insteek.” (K.K.)
5. “My daddy’s coming tomorrow on a nairplane.” (S.)
6. After a hum a beautiful Negress sings “Without a song, the dahay would
nehever end.” (U.)
7. “Oh, well, then, you just trot over to the table and make your little mommy a
gweat big dwink.” (E.A.)

37
8. “I allus remember me man sayin’ to me when I passed me schoarship—“You
break one o’my winders an’ I’ll skin ye alive.” (St.B.)
9. He spoke with the flat ugly “a” and withered “r” of Boston Irish, and Levi
looked up at him and mimicked “All right, I’ll give the caaads a break and staaat
playing.” (N.M.)
10. “Whereja get all these pictures?” he said. “Meetcha at the corner. Wuddaya
think she’s doing out there?” (S.)
11. “Look at him go. D’javer see him walk home from school? You’re French
Canadian, aintcha?” (J.K.)
12. Usually she was implacable in defence of her beloved fragment of the coast
and if the summer weekenders grew brazen, —getoutofitsillyoldmoo,
itsthesoddingbeach,—she would turn the garden hose remorselessly upon them.
(S.R.)
13. The demons of jealousy were sitting on his shoulders and he was screaming
out the same old song, whatthehell whathe don’t think you canpull the wool how
dare you bitch bitch bitch. (S.R.)

2. Substitute the given graphons by their normative graphical interpretation:

1. "You remember him at all?"
"Just, sort of. Little ole private? Terribly unattractive" (S.)
2. "You're one that ruint it." (J.)
3. "You ast me a question. I answered it for you." (J.)
4. "You'll probly be sick as a dog tomorra, Tills." (J.)
5. Marrow said: "Chawming climate out heah in the tropics, old chap." (J.H.)
6. What this place needs is a woman's touch, as they say in the pitchers. (I. Sh.)
7. "You ain't invited," Doll drawled. "Whada you mean I ain't invited?" (J.)
8. "I've never seen you around much with the rest of the girls. Too bad!
Otherwise we mighta met. I've met all the rest of 'em so far." (Dr.)
9. You're French Canadian aintcha? I bet all the girls go for you, I bet you're
gonna be a great success. (J.K.)
10. "You look awful—whatsamatter with your face?"(J.K.)
11. "Veronica," he thought. "Why isn't she here? Godamnit, why isn't she here?"
(I. Sh.)
12. "Wuddaya think she's doing out there?" (S.)
13."...for a helluva intelligent guy you're about as tactless as it's humanly
possible to be." (S.)
14. "Ah you guys whattaya doin?" (J.K.)
15. How many cupsacoffee you have in Choy’s this morning? (J.)

3. Indicate what graphical expressive means are used in the following

extracts:
1. "...I ref-use his money altogezzer." (D.)

38
2. ...on pain of being called a g-irl, I spent most of the remaining twilights that
summer with Miss Maudie Atkinson on her front porch. (H.L.)
3. "...Adieu you, old man, grey. I pity you, and I despise you." (D.)
4. He misses our father very much. He was s-l-a-i-n in North Africa. (S.)
5. We'll teach the children to look at things...I shall make it into a sort of game
for them. Teach them to take notice. Don't let the world pass you by, I shall tell
them... For the sun, I shall say, open your eyes for that laaaarge sun... (A. W.)
6. "...I r-r-r-ruin my character by remaining with a Ladyship so infame!" (D.)
7. You have no conception no conception of what we are fighting over here. (H.
L.)
8. "Oh, what's the difference, Mother?" "Muriel, I want to know." (S.)
9. "And it's my bounden duty as a producer to resist every attack on the integrity
of American industry to the last ditch. Yes — SIR!" (S. L.)
10. "Now listen, Ed, stop that, now! I am desperate. I am desperate, Ed, do you
hear? Can't you see?" (Dr.)
11.When Will's ma was down here keeping house for him — she used to run in
to see me, real often! (S. L.)
4. Find different phonetic devices:
1. By Sir Thomas Moore
Those evening bells! those evening bells!
How many a tale their music tells,
Of youth, and home, and that sweet time,
When last I heard their soothing chime.

Those joyous hours are pass’d away;

And many a heart, that then was gay,
Within the tomb now darkly dwells,
And hears no more those evening bells.

And so’t will be when I am gone;

That tuneful peal will still ring on,
While other hards shall walk these dells,
And sing your praise, sweet evening bells.
2. Windy Nights
Whenever the moon and stars are set,
Whenever the wind is high,
All night long in the dark and wet,
A man goes riding by.
Late in the night when the fires are out,
Why does he gallop and gallop about?
Whenever the trees are crying aloud,
And ships are tossed at sea,
By, on the highway, low and loud,

39
 By at the gallop goes he.
By at the gallop he goes, and then
By he comes back at the gallop again.
R. Stevenson
3. Poe
Hear the sledges with the bells — Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the Heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells —
From the jingling and the tinkling of the bells.

Практическое занятие №8

Stylistic Grammar
Be ready to discuss the following:
 The theory of grammatical gradation (Marked, semi-marked and
unmarked structures),
 Grammatical metaphor and types of grammatical transposition,
Morphological stylistics.
 The stylistic potential of different parts of speech,
 Affixation and its expressiveness

Tasks for the Seminar

1. Consider the following sentences and comment on the function of

morphological grammatical categories and parts of speech that create
stylistic function:
1. One night I am standing in front of Mindy's restaurant on Broadway,
thinking of practically nothing whatever, when all of a sudden I feel a very
terrible pain in my left foot. (Runyon)
2. It's good, that, to see you again, Mr. Philip, said Jim. (Caldwell)
3. Earth colours are his theme. When he shows up at the door, we see that he's
even dressing in them. His pants are grey. His shirt is the same colour as his
skin. Flesh colour. (Erdrich)

40
4. Now, the Andorrans were a brave, warlike people centuries ago, as everybody
was at one time or another - for example, take your Assyrians, who are now
extinct; or your Swedes, who fought in the Thirty Years' War but haven't done
much since except lie in the sun and turn brown... (Berger)
5. A gaunt and Halloweenish grin was plastered to her face. (Erdrich)
6. I walked past Mrs. Shumway, who jerked her head around in a startled
woodpeckerish way... (Erdrich)
7. She's the Honourable Mrs. Besle-Chetwynde, you know - sister-in-law of
Lord Pastmaster - a very wealthy woman, South American. (Waugh)
8. ...there are two kinds of people, which we may call the hurters and the
hurtees. The first get their satisfaction by working their will on somebody else. The
second like to be imposed upon. (Burger)
9. To hear her was to be beginning to despair. (Jarrell)
10. But they do manage the building? Mrs. Doubleday said to him. (Cheever) A
band indeed! You' ll be having fireworks next. (Waugh)
11. I stare down at the bright orange capsules... I have to listen... so we look at
each other, up and down, and up and down... Without us, they say, without
Loise, it's the state hospital. (Erdrich)
12. Ah! That must be Aunt Augusta. Only relatives, or creditors, ever ring in
that Wagnerian manner. (Wilde)
13. I got nothing against Joe Chapin, but he's not me. I'm me, and another man
is still another man. (O'Hara)
14. That's not the Mr. Littlejohn I used to know. (Waugh)
15. I pronounce that the sentence on the defendants, Noelle Page and Lawrence
Douglas, shall be execution by a firing squad. (Sheldon)
16. They are all being so formal. Let's play a game to break the ice. (Bell)
17. I wondered how the Moroccan boy... could stand meekly aside and watch
her go off with another man. Actors, I thought. They must divide themselves
into compartments. (Shaw)
18. Oh, I guess I love you, I do love the children, but I love myself, I love my
life, it has some value and some promise for me... (Cheever)
19. Let him say his piece, the darling. Isn't he divine? (Waugh)
20. It never was the individual sounds of a language, but the melodies behind
them, that Dr. Rosenbaum imitated. For these his ear was Mozartian. (Jarrell)
21. They are allowed to have the train stopped at every cross-roads... (Atkinson)
22. That's the foolest thing I ever heard. (Berger)

2. Comment on the parts of speech that create stylistic function:

1. I don't want to look at Sita. I sip my coffee as long as possible. Then I do look
at her and see that all the colour has left her face, she is fearfully pale. (Erdrich)
2. - I didn't mean to hurt you.
- You did. You're doing nothing else; (Shaw)

41
3. All Europe was in arms, and England would join. The impossible had
happened. (Aldington)
4. Mrs. Thompson, Old Man Fellow's housekeeper had found him deader than a
doornail... (Mangum)
5. A Forsyte is not an uncommon animal. (Galsworthy)
6. The lone and level sands stretch far away. (Shelly)
7. The postmaster and postmistress, husband and wife, ...looked carefully at
every piece of mail... (Erdrich)
8. That -wonderful girl! That beauty! That world of wealth and social position
she lived in! (London)
9.He is a great fish and I must convince him, he thought. I must never let him
learn his strength. (Hemingway)

Практические занятия №9-10

Stylistic syntax
Be ready to discuss the following:
1. Redundancy of syntactical elements. Repetition (anaphora, epiphora,
framing, catch repetition (anadiplosis), chain repetition, ordinary repetition,
successive repetition)
2. Absence of syntactical elements (ellipsis, unfinished sentences
(aposiopesis), nominative sentences, apokoinu constructions).
3. Detachment. Suspense. Polysyndeton / asyndeton. Rhetorical questions.

Tasks for the Seminar

1. State the types of repetition in the following extracts:

1. "Stop!" - she cried, "Don't tell me! I don't want to hear; I don't want to hear
what you've come for. I don't want to hear" (Galsworthy)
2. "A smile would come into Mr. Pickwick's face: a smile extended into a
laugh: the laugh into a roar, and the roar became general."(Dickens)
3. "Sloppy ... laughed loud and long. At this time the two innocents, with their
brains at that apparent danger, laughed, and Mrs Hidgen laughed and the orphan
laughed and then the visitors laughed." (Dickens)
4. There stood Dick, gazing now at the green gown, now at the brown head-
dress, now at the face, and now at the rapid pen in a state of stupid perplexity.
(Ch. Dickens.)
5. "Scrooge went to bed again and thought and thought and thought it over and
over and over." (Ch. Dickens)
6. "We woke up in the morning said Rabbit, and what do we find? We find a
strange animal among us. An Animal of whom we have never heard before: An
Animal, who carries her family about her in her pocket." (Miln)

42
7. "I am exactly the man to be placed in a superior position in such a case as
that. I am above the rest of mankind, in such a case as that. I can act with
philosophy in such case as that. "(Dickens)
8. "A mistake had been made, and yet it was not a wanton mistake.(A. Hailey)
9. A girl was murdered. Murdered by someone who had strength enough to
hold her head down in a bucket of water. " (A. Christie)
10. "It is true that writers are prone to wild ideas. Ideas, perhaps, which are on
the far side of probability... " (A. Christie)
11. You know – how brilliant he is, what he should be doing. And it hurts me. It
hurts me every day of my life (Deeping).
12. From the offers of marriage that fell to her, Dona Clara, deliberately, chose
the one that required her removal to Spain. So to Spain she went. (Wilde)
13. Living is the art of loving. Loving is the art of caring. Caring is the art of
sharing. Sharing is the art of living. (Davies.)
14. Obviously-this is a streptococcal infection. Obviously. (Deeping)
15. And a great desire for peace, peace of no matter what kind, swept through
her. (Bennett)
16. Then there was something between them. There was. There was. (Dreiser)

2. State the types of parallelism in the following extracts:

1. "What we anticipate seldom occurs: What we least expect generally happens."
(Disraeli).
2. "She was a good servant, she walked softly, she was a determined woman,
she walked precisely." (Greene).
3. "John kept silent; Mary was thinking." (Wilde).
4. "Our senses perceive no extremes. Too much sound deafens us; too much
light dazzles us; too great distance or proximity hinders our view. (Galsworthy).
5. "There were real silver spoons to stir the tea with, and real china cups to drink
it out of, and plates of the same to hold the cakes and toast in." (Dickens)
6. "He introduced her to his friends. He gave her lovely jewels. He took her here,
there, everywhere." (Maugham)

3. State the types of chiasmus in the following extracts

1. "As high as we have mounted in delight In our dejection do we sink as
low."(Wordsworth)
2. "I know the world and the world knows me." (Dreiser)
3. "Mr. Boffin looked full at the man, and the man looked full at Mr. Boffin."
(Dreiser)
4. "The jail might have been the infirmary, the infirmary might have been the
jail." (Dickens).
5. "I flee who chases me, and chase who flees me." (Ovid)

43
4. Find and analyse cases of inversion. Comment on the structure and
functions of each:
1. Women are not made for attack. Wait they must. (Conrad)
2. Out came the chase - in went the horses - on sprang the boys - in got
the travellers. (Dickens)
3. And she saw that Gopher Prairie was merely an enlargement of all the
hamlets which they had been passing. Only to the eyes of a Kennicot was
it exceptional. (Lewis)
4. And only then will you truly joined the common European home ...
(Atkinson)
5. A tone of most extraordinary compassion Miss Tox said it in, though she had
no distinct idea why, except that it was expected of her. (Dickens)
6. Never had Henry Pootel-Piglet run so fast as he ran then.(Miln)

5. Analyse various cases of ellipsis.

1. You see these three teeth?" (A. Bennett)
2. They should be through, or almost." "They might be - if we could find the
frigging truck" (A. Hailey)
3. A pause, then more aggressively, "Any other damnfool stupid notion?" (A.
Hailey)
4. So Justice Oberwaltzer – solemnly and didactically from his high seat to the
jury. (Dreiser.)
5. I'll see nobody for half an hour, Marcey,' said the boss. 'Understand?
Nobody at all." (Mansfield)

6. Analyse various cases of aposiopesis.

1. "Good afternoon", said Mr. Cowlishaw "Have you...Can I..." (Bennett)
2. "But, George, maybe it's very important for you to go and learn all that about
- cattle judging and soils and those things... Of course, I don't know." (Wilde)
3. She must leave-or-or, better yet - maybe drown herself-make away with
herself in some way-or-" (Dr.)
4. And it was so unlikely that any one would trouble to look there-until-until-
well. (Dr.)
5. I still don't quite like the face, it's just a trifle too full, but – … I swung
myself on the stool. (L.)
6. I just work here," he said softly. "If I didn't - " he let the rest hang in the air,
and kept on smiling. (R. Ch.)

7. Analyse various cases of nominative sentences

1. I like people. Not just empty streets and dead buildings. People. People.
(Abrahams)
2. We have never been readers in our family. It doesn’t pay. Stuff. Idleness.
Folly. No, no! (Dickens)

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3. Pain and discomfort – that was all the future held. And meanwhile ugliness,
sickness, fatigue. (Huxley)
4. A dark gentleman … A very bad manner. In the last degree constrained,
reserved, diffident, troubled. (Dickens)
5. A black February day. Clouds hewn of ponderous timber weighing down on
the earth; an irresolute dropping of snow specks upon the trampled wastes.
Gloom but no veiling of angularity. The lines of roofs and sidewalks sharp and
inescapable. The second day of Kennicott’s absence … (Lewis)

8. Analyse the following apokoinu construction.

1. There was no breeze came through the door. (Hemingway)
2. It was you insisted on coming, because you didn't like restaurants. (O'Casey)
3. And there's nothing more can be done. (Christie)
4. There's somebody wants to speak to you."(Hemingway)
5. He is the one makes noise at night. (Carter)
6. There was a whisper in my family that it was love drove him out, and not
love of the wife he married. (St)
7. Everyone found him attractive. It was temper let him down. (Christie)
8. There’s no one enjoys good food more than he does. (Maugham)

9. Find and analyse cases of рolysyndeton / asyndeton, detachment, suspense.

1. By the time he had got all the bottles and dishes and knives and forks and
glasses and plates and spoons and things piled up on big trays, he was getting
very hot, and red in the face, and annoyed. (Tolkien)
2. Bella soaped his face and rubbed his face, and soaped his hands and rubbed
his hands, and splashed him, and rinsed him, and towelled him, until he was as
red as beetroot. (Dickens)
3. With these hurried words Mr. Bob Sawyer pushed the post boy on one side,
jerked his friend into the vehicle, slammed the door, put up the steps, wafered
the bill on the street-door, locked it, put the key into his pocket, jumped into the
dickey, gave the word for starting". (Dickens)
4. It (a provincial city) is full of dirty blank spaces, high black walls, a gas
holder, a tall chimney, a main road that shakes with dust and lorries". (Osborne)
5. Soames turned away; he had an utter disinclination for talk, like one standing
before an open grave, watching a coffin slowly lowered. (Galsworthy)
6. She narrowed her eyes a trifle at me and said I looked exactly like
Celia Briganza's boy. Around the mouth. (S.)
7. He observes it all with a keen quick glance, not unkindly, and full rather of
amusement than of censure. (V.W.)
8. She was crazy about you. In the beginning. (R. W.)

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9. Of all my old association, of all my old pursuits and hopes, of all the
living and the dead world, this one poor soul alone comes natural to me.
(D.)
10. I have been accused of bad taste. This has disturbed me not so much
for my own sake (since I am used to the slights and arrows of outrageous
fortune) as for the sake of criticism in general. (S. M.)
11. All this Mrs Snagsby, as an injured woman and the friend of Mrs. Chadband,
and the follower of Mr. Chadband, and the mourner of the late Mr. Tulkinghorn,
is here to certify. (Dickens)
12. No one seemed to take proper pride in his work: from plumbers who were
simply thieves to, say, newspapermen (he seemed to think them a specially
intellectual class) who never by any chance gave a correct version of the
simplest affair. (Conrad)
13. ‘… The day on which I take the happiest and best step of my life – the day
on which I shall be a more exulting and more enviable than any other man in the
world – the day on which I give Bleak House its little mistress – shall be next
month, then,” said my guardian. (Dickens)
14. ‘Corruption couldn’t spread with so much success, though reduced into a
system, and though some ministers, with equal impudence and folly, avowed it
by themselves and their advocates, to be the principal expedient by which they
governed; if a long and almost unobserved progression of causes and effects did
not prepare the conuncture. (Bolingbroke)

10. Analyse the nature and functions of the following rhetorical questions.
1. "Could a man own anything prettier than this dining-table with its deep
tints, the starry, soft-petalled roses, the ruby-coloured glass, and quaint silver
furnishing; could a man own anything prettier than a woman who sat at it? "
(Galsworthy)
2. "She took the vase of roses and left the room. Soames remained seated.
Was it for this that he had signed that contract? Was it for this that he was going
to spend some ten thousand pounds? " (Galsworthy)
3. "Are these the remedies for a starving and desperate populace? " (Byron.)
4. "Is there not blood enough upon your penal code, that more must be poured
forth to ascend to Haven and testify against you? " (Byron.)
5. "Have I not had to wrestle with my lot? Have I not suffered things to be
forgiven?" (Byron.)
7. "If practice makes perfect, and no one's perfect, then why practice?"
(Corgan)

Additional tasks:

1. Various types of repetition, and also of parallelism and chiasmus:

46
1. I wake up and I’m alone and I walk round Warley and I’m alone; and I talk
with people and I’m alone and I look at his face when I’m home and it’s dead.
(J.Br.)
2. Babbitt was virtuous. He advocated, though he did not practice, the
prohibition of alcohol; he praised,—though he did not obey, the laws against
motorspeeding. (S.L.)
3. “To think better of it,” returned the gallant Biandois, “would be to slight a
lady, to slight a lady would be to be deficient in chivalry towards the sex, and
chivalry towards the sex is a part of my character.” (D.)
4. Halfway along the righthand side of the dark brown hall was a dark brown
door with a dark brown settie beside it. After I had put my hat, my gloves, my
muffler and my coat on the settie we three went through the dark brown door
into a darkness without any brown in it. (W.G.)
5. I might as well face facts; goodbye Susan, good bye a big car, goodbye a big
house, goodbye power, goodbye the silly hand some dreams. (J.Br.)
6. I really don’t see anything romantic in proposing. It is very romantic to be in
love. But there is nothing romantic about a definite proposal. (O.W.)
7. I wanted to knock over the table and hit him until my arm had no more
strength in it, then give him the boot, give him the boot, give him the boot—I
drew a deep breath. (J.Br.)
8. Of her father’s being groundlessly suspected, she felt sure. Sure. Sure. (D.)
9. Now he understood. He understood many things. One can be a person first. A
man first and then a black man or a white man. (P. A.)
10. She stopped, and seemed to catch the distant sound of knocking.
Abandoning the traveller, she hurried towards the parlour; in the passage she
assuredly did hear knocking, angry and impatient knocking, the knocking of
someone who thinks he has knocked too long. (A.B.)
11. When he blinks, a parrotlike look appears, the look of some heavily blinking
tropical bird. (A.M.)
12. And everywhere were people. People going into gates and coming out of
gates. People staggering and falling. People fighting and cursing. (P.A.)
13. He ran away from the battle. He was an ordinary human being that didn’t
want to kill or be killed. So he ran away from the battle. (St.H.)
14. Failure meant poverty, poverty meant squalor, squalor led, in the final
stages, to the smells and stagnation of B. Inn Alley. (D. du M.)
15. “Secret Love”, “Autumn Leaves”, and something whose title he missed.
Supper music. Music to cook by. (U.)
16. I came back, shrinking from my father’s money, shrinking from my father’s
memory: mistrustful of being forced on a mercenary wife, mistrustful of my
father’s intention in thrusting that marriage on me, mistrustful that I was already
growing avaricious, mistrustful that I was slackening in gratitude to the dear
noble honest friends who had made the only sunlight in my childish life. (D.)

47
17. If you know anything that is not known to others, if you have any suspicion,
if you have any clue at all, and any reason for keeping it in your own breast,
think of me, and conquer that reason and let it be known! (D.)
18. I notice that father’s is a large hand, but never a heavy one when it touches
me, and that father’s is a rough voice but never an angry one when it speaks to
me. (D.)
19. There lives at least one being who can never change—one being who would
be content to devote his whole existence to your happiness —who lives but in
your eyes—who breathes but in your smile—who bears the heavy burden of life
itself only for you. (D.)
20. It is she, in association with whom, saving that she has been for years a main
fibre of the roof of his dignity and pride, he has never had a selfish thought. It is
she, whom he has loved, admired, honoured and set up for the world to respect.
It is she, who, at the core of all the constrained formalities and conventionalities
of his life, has been a stock of living tenderness and love. (D.)

2. Find and analyse cases of detachment, suspense and inversion.

1. How many pictures of new journeys over pleasant country, of resting places
under the free broad sky, of rambles in the fields and woods, and paths not often
trodden how many tones of that one well remembered voice, how many
glimpses of the form, the fluttering dress, the hair that waved so gaily in the
wind—how many visions of what had been and what he hoped was yet to be—
rose up before him in the old, dull, silent church! (D.)
2. It was not the monotonous days uncheckered by variety and uncheered by
pleasant companionship, it was not the dark dreary evenings or the long solitary
nights, it was not the absence of every slight and easy pleasure for which young
hearts beat high or the knowing nothing of childhood but its weakness and its
easily wounded spirit, that had wrung such tears from Nell. (D.)
3. On, on he wandered, night and day, beneath the blazing sun, and the cold pale
moon; through the dry heat of noon, and the damp cold of night; in the grey light
of morning, and the red glare of eve. (D.)
4. Benny Collan, a respected guy, Benny Collan wants to marry her. An agent
could ask for more? (T.C.)
5. Then he said: “You think it’s so? She was mixed up in this lousy
business?”(J.B.)

3. Discuss different types of stylistic devices dealing with the completeness of

the sentence:
1. In manner, close and dry. In voice, husky and low. In face, watchful behind a
blind. (D.)
2. Malay Camp. A row of streets crossing another row of streets. Mostly narrow
streets. Mostly dirty streets. Mostly dark streets. (P.A.)

48
3. His forehead was narrow, his face wide, his head large, and his nose all on
one side. (D.)
4. A solemn silence: Mr. Pickwick humorous, the old lady serious, the fat
gentleman cautious and Mr. Miller timorous. (D.)
5. He, and the falling light and dying fire, the timeworn room, the solitude, the
wasted life, and gloom, were all in fellowship. Ashes, and dust, and ruin! (D.)
6. She merely looked at him weakly. The wonder of him! The beauty of love!
Her desire toward him! (Dr.)
7. H.: The waves, how are the waves?
C.: The waves? Lead.
H.: And the sun?
C.: Zero.
H.: But it should be sinking. Look again.
C.: Damn the sun.
H.: Is it night already then?
С.: No.
H.: Then what is it?
С.: Grey! Grey! GREY!
H.: Grey! Did I hear you say grey?
C.: Light black. From pole to pole. (S.B.)
8. I’m a horse doctor, animal man. Do some farming, too. Near Tulip, Texas.
(T.C.)
9. This is a story how a Baggins had an adventure. He may have lost the
neighbours’ respect, but he gained—well, you will see whether he gained
anything in the end. (A.T.)
10. “People liked to be with her. And—” She paused again, “—and she was
crazy about you.” (R.W.)
11. What I had seen of Patti didn’t really contradict Kitty’s view of her: a girl
who means well, but. (D.U.)
12. “He was shouting out that he’d come back, that his mother had better have
the money ready for him. Or else! That is what he said: “Or else!” It was a
threat.” (Ch.)
13. “Listen, I’ll talk to the butler over that phone and he’ll know my voice. Will
that pass me in or do I have to ride on your back?” “I just work here,” he said
softly. “If I didn’t—” he let the rest hang in the air, and kept on smiling. (R.Ch.)
14. “Well, they’ll get a chance now to show—” Hastily: “I don’t mean—But
let’s forget that.” (O’N.)
15. There was no breeze came through the door. (H.)
16. I love Nevada. Why, they don’t even have mealtimes here. I never met so
many people didn’t own a watch. (A.M.)

4. Specify stylistic functions of the types of connection given below

(polysyndeton, asyndeton, attachment):

49
1. Then from the town pour Wops and Chinamen and Polaks, men and women
in trousers and rubber coats and oilcloth aprons. They come running to clean and
cut and pack and cook and can the fish. The whole street rumbles and groans
and screams and rattles while the silver rivers of fish pour in out of the boats and
the boats rise higher and higher in the water until they are empty. The canneries
rumble and rattle and squeak until the last fish is cleaned and cut and cooked
and canned and then the whistles scream again and the dripping smelly tired
Wops and Chinamen and Polaks, men and women struggle out and droop their
ways up the hill into the town and Cannery Row becomes itself again—quiet
and magical. (J.St.)
2. “What sort of a place is Dufton exactly?”
“A lot of mills. And a chemical factory. And a Grammar school and a war
memorial and a river that runs different colours each day. And a cinema and
fourteen pubs. That’s really all one can say about it.” (J.Br.)
3. By the time he had got all the bottles and dishes and knives and forks and
glasses and plates and spoons and things piled up on big trays, he was getting
very hot, and red in the face, and annoyed. (A.T.)
4. Bella soaped his face and rubbed his face, and soaped his hands and rubbed
his hands, and splashed him, and rinsed him, and towelled him, until he was as
red as beetroot. (D.)
5. Secretly, after the nightfall, he visited the home of the Prime Minister. He
examined it from top to bottom. He measured all the doors and windows. He
took up the flooring. He inspected the plumbing. He examined the furniture. He
found nothing. (L.)
6. “Well, guess it’s about time to turn in.” He yawned, went out to look at the
thermometer, slammed the door, patted her head, unbuttoned his waistcoat,
yawned, wound the clock, went to look at the furnace, yawned and clumped
upstairs to bed, casually scratching his thick woolen undershirt. (S.L.)
8. “Give me an example,” I said quietly. “Of something that means something.
In your opinion.” (T.C.)
9. “I got a small apartment over the place. And, well, sometimes I stay over. In
the apartment. Like the last few nights.” (D.U.)
10. “He is a very deliberate, careful guy and we trust each other completely.
With a few reservations.” (D.U.)

Практические занятия №11-12

Functional Styles
Be ready to discuss the following:
The Theory of Functional Styles
 The notion of functional styles.
 Style classifications of I.R. Galperin, M.D. Kuznez and Y.M. Screbnev,
I.V. Arnold,V.A. Kukharenko and others.

50
 Tasks for the Seminar

1. Identify the functional style in each of the texts given below and analyse
their peculiarities.
№1
Why did he not make inquiries into the reasons for it happening? Why did he
trust to an assumption from the hon. Member for Norwood? The Prime Minister
did not make inquiries because he knew that if he did the responsibility would
have to be placed somewhere else. If the Prime Minister says he was misled it
was because he wanted to be misled.
№2
NEWS IN BRIEF
Every child in Bedfordshire schools will be given illustrated copy of the Bible
on reaching the age of six, the County Education Committee have decided.
Canadian officials report that the supply is now sufficient to resume the minting
of Canadian five cent pieces from steel, which has been used for many years.
The bus-drivers at Exford who have been on strike since Monday last week
resumed work yesterday.
Because of a shortage of gravediggers, the Rev. D.R. Jenkins, Vicar of Heeley,
Sheffield, dug two graves in his church yard.
Richard Baker, B.B.C. announcer, and four members of an orchestra, had to wait
for 40 minutes in a lift which stopped between floors in a building in Earrington
Street yesterday.
(A.S. Hornby).

№3
NUNS JAILED FOR BEATING CHILDREN
Three nuns wore given jail sentences ranging from one to four years yesterday
in Florence for beating children and forcing them to lick the sign of the cross
drawn on the floor of a children's home.
Witnesses at the trial, which caused a national scandal, said children at the home
were undernourished, dirty, covered in fleas, short of clothing and bedding and
living in rooms like stables.

№4
Three dead and thousands homeless
NEW DANGER AS RIVERS KEEP RISING

№5
LEARN LANGUAGES AT YOUR LEISURE
For your holiday pleasure. Catalogue sent free on request. TUTOR-TAPE CO.
LTD., 2 Replingham Road, London S.W.I8.

51
 WEATHER
Cloudy, occasional rain. Rather cold. Lighting-up Time: 5.50 a.m.

№6
CHAPTER OF THE UNITED NATIONS
WE THE PEOPLES OF THE UNITED NATIONS DETERMINED
To save succeeding generations from the scourge of war, which twice in our
lifetime has brought untold sorrow to mankind, and
To reaffirm faith in fundamental human rights, in the dignity and worth of
human person, in the equal rights of men and women and of nations large and
small, and
To establish conditions under which Justice and respect for the obligations
arising from treaties and other sources of international law can be maintained,
and
To promote social progress and better standards of life in larger freedom,

№7
SMITH, BROWN & CO., LTD
139 Summerset Road, London, S.W.2
26 March 1990
To the Manager of
The Universal Emporium
72 High Street
CHELTENHAM. Glos.
Dear Sir,
Thank you for your letter of 25 March.
(1) Catalogue and Wholesale Price-list.
(2) We enclose our catalogue of school furnishings and current
wholesale price-list.
(2) Delivery.
All goods mentioned can be delivered from stock.
(3) Kitchen Filments.
(4) We do not deal in these.
Yours faithfully,
for SMITH, BROWN & CO, LTD
Mary Snel

№8
PROBLEM
A can do a piece of work in 8 days. If В can do it in 10 days, in how many days
can both working together do it?
SOLUTION

52
Let x = the required number of days, then 1/x = the part of the work both can do
in 1 day; 1/8 = the part of the work A can do in 1 day; 1/10 = the part of the
work В can do in 1 day;
1 = 1 + 1 or 9;
x 8 10 40 Solving x = 40 or 4 4
-the required number of days.

№9
The Highlanders rushed fiercely against the lines of the English redcoats, threw
down fire-arms and leaped upon the soldiers with swords and knives. They fell
under the steady fire of Cumberland's soldiers and the deadly sim of his cannon.
But others came on just as fiercely to continue the attack. The slaughter was
dreadful as wave after wave of the Highlanders threw themselves on the English
lines. But even all that bravery and loyalty could not win the day. The
disciplined forces of the English soldiers held the attack, the drums sounded the
advance, the redcoats moved forward, the clans were beaten back. Prince
Charles saw that the day was lost and galloped from the field on which 1,200 of
the clansmen lay dead. No mercy was shown to the survivors. Those who
escaped from the battlefield were hunted down and when they were captured
they were put to death (C.E.E.).

№ 10
(oh; well; why; dear me! Goodness! Gracious! My Goodness!).
"Where did you last see him?" I asked... "In Cleveland." "Where in Cleveland?"
"Do you know Cleveland?" "I need an address," I said. "He never had an
address."
"But you had to see him somewhere. You lived with him in Cleveland?"
"It wasn't living anymore." (J. Horwitz).

№ 11
"Have you ever been married, Captain Meadows?" I asked.
"Not me," he said and added: "I said I would never marry anyone but you,
Emily, and never have." There was some satisfaction in his voice.
"Well, you might have regretted it if you had," Mrs Meadows said smiling.
"Well, one thing you've not done, George," said Mrs Meadows, the smile still in
her blue eyes, "and that's to make a fortune."
"I am not a man to save money. But one thing I can say for myself: if I had a
chance of going through my life again, I'd take it. And not many men can say
that."
"No, indeed," I said (W.S. Maugham).

№ 12
Dear Irene,

53
I hear that Soames is going to Hanley to-morrow for the night. I thought it
would be great fun if we made up a little party and drove down to Richmond.
Will you ask Mr Bosinney, and I will get your Flippard? Emily will lend us the
carriage. I will call for you and your man at seven o'clock.
Your affectionate sister,
Winifred Dartie
(Galsworthy).

№ 13
A hand jostled my elbow. It was a freshman squirt who'd been trying his
damnedest to break into the Fred Astair crowd.
"Hi," I said flatly.
"Hi," he said. "Pretty good brawl, eh?"
"Fair," I agreed coldly.
"Listen," he piped, "you know everybody here. Tell me who's the snake who's
getting the big rush?"
"You mean in the red and gold?"
"Hell, no, not that tramp. The mystery woman over there in the filmy black-stuff
(R Dennis).

№ 14
LEISURE
What is this life if, full of care, We have no time to stand and stare!
No time to stand beneath the broughs, And stare as long as sheep and cows.
No time to see, when woods we pass, Where squirrels hide their nuts in grass.
No time to see, in broad daylight, Streams full of stars, like skies at night.
W.H. Davies (1871-1940)

№ 15
LARRY. Keith
KEITH. So that is how you keep your promise not to go out!
LARRY. I've been waiting in for you all day. I couldn't stand it any longer.
KEITH. Exactly!
LARRY. Well, what's the sentence, brother? Transportation for life?
KEITH. The boat leaves for the Argentine the day after to-morrow; you must go
by it.
LARRY. Together, Keith?
KEITH. You can't go together. I'll send her by the next boat. LARRY Swear?

Практические занятия №13-14

Study the samples of stylistic analysis and analyze the following texts:

54
 SAMPLES OF STYLISTIC ANALYSIS

1. He had heard everything the Boy said however—was waiting for the right
moment to wrap up bis silence, roll it into a weapon and hit Matty over the head
with it. He did so now. (W.G1.)

In this short extract from W. Golding’s Darkness Visible the appearance of a

person who was an unnoticed witness to a conversation is described. The
unexpectedness of his emergence is identified with the blow in the sustained
metaphor which consists of three individual verb metaphors showing stages of
an aggressive action. The abrupt change of sentence length and structure
contributes to the expressiveness of the passage.
2. “This is Willie Stark, gents. From up home at Mason City. Me and Willie was
in school together. Yeah, and Willie, he was a bookworm, and he was teacher’s
pet. Wuzn’t you, Willie?” And Alex nudged the teacher’s pet in the ribs. (R.W.)

Alex’s little speech gives a fair characteristic of the speaker. The substandard
“gents”, colloquial “me”, irregularities of grammar (“me and Willie was”),
pronunciation (graphon “wuzn’t”), syntax (“Willie, he was”), abundance of set
phrases (“he was a bookworm”, “he was a teacher’s pet”, “from up home”)—all
this shows the low educational and cultural level of the speaker. It is very
important that such a man introduces the beginning politician to his future voters
and followers. In this way R.P. Waren stresses the gap between the aspiring and
ambitious, but very common and run-of-the-mill young man starting on his
political career, and the false and ruthless experienced politician in the end of
this road. Note the author’s ironic attitude towards the young Stark which is seen
from the periphrastic nomination of the protagonist (“teacher’s pet”) in the
author’s final remark.
3. From that day on, thundering trains loomed in his dreams—hurtling, sleek,
black monsters whose stack pipes belched gobs of serpentine smoke, whose
seething fireboxes coughed out clouds of pink sparks, whose pushing pistons
sprayed jets of hissing steam—panting trains that roared yammeringly over
farflung, gleaming rails only to come to limp and convulsive halts—long, fearful
trains that were hauled brutally forward by red-eyed locomotives that you loved
watching as they (and you trembling) crashed past (and you longing to run but
finding your feet
strangely glued to the ground). (Wr.)

This paragraph from Richard Wright is a description into which the character’s
voice is gradually introduced first through the second person pronoun “you”,
later also graphically and syntactically—through the so called embedded
sentences, which explicitly describe the personage’s emotions. The paragraph is
dominated by the sustained metaphor “trains” = “monsters”. Each clause of this

55
long (the length of this one sentence, constituting a whole paragraph, is over 90
words) structure contains its own verb metaphors “belched”, “coughed out”,
“sprayed”, etc., metaphorical epithets contributing to the image of the monster
—“thundering”, “hurtling”, “seething”, “pushing”, “hissing”, etc. Their
participial form also helps to convey the effect of dynamic motion. The latter is
inseparable from the deafening noise, and besides “roared”, “thundering”,
“hissing”, there is onomatopoeic “yammeringly”.
The paragraph abounds in epithets—single (e.g. “serpentine smoke”), pairs (e.g.
“farflung, gleaming rails”), strings (“hurtling, sleek, black monsters”), expressed
not only by the traditional adjectives and participles but also by qualitative
adverbs (“brutally”, “yammeringly”). Many epithets, as it was mentioned
before, are metaphorical, included into the formation of the sustained metaphor.
The latter, besides the developed central image of the monstrous train, consists
of at least two minor ones—“red-eyed locomotives”, “limp and convulsive
halts”.
The syntax of the sentence paragraph shows several groups of parallel
constructions, reinforced by various types of repetitions (morphological—of the
ing suffix, caused by the use of eleven participles; anaphoric—of “whose”;
thematic—of the word “train”). All the parallelisms and repetitions create a
definitely perceived rhythm of the passage which adds to the general effect of
dynamic motion.
Taken together, the abundance of verbs and verbals denoting fast and noisy
action, having a negative connotation, of onomatopoeic words, of repetitions—
all of these phonetic, morphological, lexical and syntactical means create a
threatening and formidable image, which both frightens and fascinates the
protagonist.

Texts for Stylistic Analysis

1. Analyse the peculiarities of functional styles in the following examples:

1. As the women unfolded the convolutions of their stories together he felt
more and more like a kitten tangling up in a ball of wool it had never intended to
unravel in the first place; or a sultan faced with not one but two Scheherezades,
both intent on impacting a thousand stories into the single night. (An.C.)
2. “Is anything wrong?” asked the tall well-muscled manager with menacing
inscrutability, arriving to ensure that nothing in his restaurant ever would go
amiss. A second contender for the world karate championship glided noiselessly
up alongside in formidable allegiance. (Js.H.)
3. As Prew listened the mobile face before him melted to a battle blackened
skull as though a flamethrower had passed over it, kissed it lightly, and moved
on. The skull talked on to him about his health. (J.)
4. Her voice. It was as if he became a prisoner of her voice, her cavernous,
somber voice, a voice made for shouting about the tempest, her voice of a

56
celestial fishwife. Musical as it strangely was, yet not a voice for singing with; it
comprised discords, her scale contained twelve tones. Her voice, with its
warped, homely, Cockney vowels and random aspirates. Her dark, rusty,
dipping, swooping voice, imperious as a siren’s. (An.C.)
5. In a very few minutes an ambulance came, the team was told all the nothing
that was known about the child and he was driven away, the ambulance bell
ringing, unnecessarily. (W.G1.)
6. This area took Matty and absorbed him. He received pocket money. He slept
in a long attic. He ate well. He wore a thick dark grey suit and grey overalls. He
carried things. He became the Boy. (W.G1.)
7. You know, a lot of trouble has been caused by memoirs. Indiscreet
revelations, that sort of thing. People who have been close as an oyster all their
lives seem positively to relish causing trouble when they themselves will be
comfortably dead. It gives them a kind of malicious glee. (Ch.)
8. “Call Elizabeth Cluppins,” said Sergeant Buzfuz. The nearest usher called for
Elizabeth Tuppins, another one, at a little distance of, demanded Elizabeth
Jupkins; and a third rushed in a breathless state into Ring Street and screamed
for Elizabeth Muffins till he was hoarse. (D.)
9. I began to think how little I had saved, how long a time it took to save at all,
how short a time I might have at my age to live, and how she would be left to
the rough mercies of the world. (D.)
10. She was sitting down with the “Good Earth” in front of her. She put it aside
the moment she made her decision, got up and went to the closet where perched
on things that looked like huge wooden collar-buttons. She took two hats, tried
on both of them, and went back to the closet and took out a third, which she kept
on. Gloves, purse, cigarette extinguished, and she was ready to go. (J.O’H.)
11. “How long have you known him? What’s he like?”
“Since Christmas. He’s from Seattle and he spent Christmas with friends of
mine in Greenwich is how I happened to meet him. I sat next to him at dinner
the night after Christmas, and he was the quiet type, I thought. He looked to be
the quiet type. So I found out what he did and I began talking about
gastroenterostomies and stuff and he just sat there and nodded all the time I was
talking. You know, when I was going to be a nurse a year before last. Finally I
said something to him. I asked him if by any chance he was listening to what I
was saying, or bored, or what?
“No, not bored,” he said. “Just cockeyed.” And he was. Cockeyed. It seems so
long ago and so hard to believe we were ever strangers like that, but that’s how I
met him, or my first conversation with him. Actually he’s very good. His family
have loads of money from the lumber business and I’ve never seen anything like
the way he spends money. But only when it doesn’t interfere with his work at P.
and S. He has a Packard that he keeps in Greenwich and hardly ever uses except
when he comes to see me.

57
He was a marvellous basketball player at Dartmouth and two weeks ago when
he came up to our house he hadn’t had a golf stick in his hands since last
summer and he went out and shot an eighty seven. He’s very homely, but he has
this dry sense of humor that at first you don’t quite know whether he’s even
listening to you, but the things he says. Sometimes I think—oh, not really, but a
stranger overhearing him might suggest sending him to an alienist.” (J.O’H.)
12. My appointment with the Charters Electrical Company wasn’t ntil afternoon,
so I spent the morning wandering round the town. There was a lot of dirty snow
and slush about, and the sky was grey and sagging with another load of the stuff,
but the morning was fine enough for a walk. Gretley in daylight provided no
surprise. It was one of those English towns that seem to have been built simply
to make money for people who don’t even condescend to live in them. (P.)
13. Mr. Topper turned from the tree and wormed himself into the automobile.
And the observer, had he been endowed with cattish curiosity would have noted
by the laborings of Topper’s body that he had not long been familiar with the
driving seat of an automobile. Once in, he relaxed, then, collecting his scattered
members, arranged his feet and hands as Mark had patiently instructed him.
(Th.S.)
14. But by the time he had said that, Matty was rapt, gazing at the glass on the
three other walls. It was all mirror, even the backs of the doors, and it was not
just plain mirrors, it distorted so that Matty saw himself half a dozen times,
pulled out sideways and squashed down from above; and Mr. Hanrahan was the
shape of a sofa.
“Ha,” said Mr. Hanrahan. “You’re admiring my bits of glass I see. Isn’t that a
good idea for a daily mortification of sinful pride? Mrs. Hanrahan! Where are
you?”
Mrs. Hanrahan appeared as if materialized, for what with the window and the
mirrors a door opening here or there was little more than a watery conflux of
light. She was thinner than Matty, shorter than Mr. Hanrahan and had an air of
having been used up.
“What is it, Mr. Hanrahan?”
“Here he is, I’ve found him!”
“Oh the poor man with his mended face!”
“I’ll teach them, the awesome frivolity of it, wanting a man about the place!
Girls! Come here, the lot of you!”
Then there was a watery conflux in various parts of the wall, some darkness and
here and there a dazzle of light.
“My seven girls,” cried Mr. Hanrahan, counting them busily.
“You wanted a man about the place, did you? Too many females were there?
Not a young man for a mile! I’ll teach you! Here’s the new man about the place!
Take a good look at him!”
The girls had formed into a semicircle. There were the twins Francesca and
Teresa, hardly out of the cradle, but pretty. Matty instinctively held his hand so

58
that they should not be frightened by his left side which they could see. There
was Bridget, rather taller and pretty and peering short-sightedly, and there was
Bernadette who was taller and prettier and wholly nubile, and there was Cecilia
who was shorter and just as pretty and nubiler if anything, and there was Gabriel
Jane, turner of heads in the street, and there was the firstborn, dressed for a
barbecue, Mary Michael: and whoever looked on Mary Michael was lost.
(W.G1.)

2. Analyse the peculiarities of functional styles in the following examples:

1. Nothing could be more obvious, it seems to me, than that art should be moral
and that the first business of criticism, at least some of the time, should be to
judge works of literature (or painting or even music) on grounds of the
production’s moral worth. By “moral” I do not mean some such timid evasion as
“not too blatantly immoral”. It is not enough to say, with the support of
mountains of documentation from sociologists, psychiatrists, and the New York
City Police Department, that television is a bad influence when it actively
encourages pouring gasoline on people and setting fire to them. On the contrary,
television—or any other more or less artistic medium—is good (as opposed to
pernicious or vacuous) only when it has a clear positive moral effect, presenting
valid models for imitation, eternal verities worth keeping in mind, and a
benevolent vision of the possible which can inspire and incite human beings
towards virtue, towards life affirmation as opposed to destruction or
indifference. This obviously does not mean that art should hold up cheap or
cornball models of behaviour, though even those do more good in the short run
than does, say, an attractive bad model like the quick-witted cynic so endlessly
celebrated in light-hearted films about voluptuous women and international
intrigue. In the long run, of course, cornball morality leads to rebellion and the
loss of faith. (J.G.)
2. In tagmemics we make a crucial theoretical difference between the
grammatical hierarchy and the referential one. In a normal instance of reporting
a single event in time, the two are potentially isomorphic with coterminous
borders. But when simultaneous, must be sequenced in the report. In some cases,
a chronological or logical sequence can in English be partially or completely
changed in presentational order (e.g. told backwards); when this is done, the
referential structure of the tale is unaffected, but the grammatical structure of the
telling is radically altered. Grammatical order is necessarily linear (since words
come out of the mouth one at a time), but referential order is at least potentially
simultaneous. Describing a static situation presents problems parallel to those of
presenting an event involving change or movement. Both static and dynamic
events are made linear in grammatical presentation even if the items or events
are, referentially speaking, simultaneous in space or time. (K.Pk.)
3. Techniques of comparison form a natural part of the literary critic’s analytic
and evaluative process: in discussing one work, critics frequently have in mind,

59
and almost as frequently appeal to, works in the same or another language.
Comparative literature systematically extends this latter tendency, aiming to
enhance awareness of the qualities of one work by using the products of another
linguistic culture as an illuminating context; or studying some broad topic or
theme as it is realized (“transformed”) in the literatures of different languages. It
is worth insisting on comparative literature’s kinship with criticism in general,
for there is evidently a danger that its exponents may seek to argue an unnatural
distinctiveness in their activities (this urge to establish a distinct identity is the
source of many unfruitfully abstract justifications of comparative literature); and
on the other hand a danger that its opponents may regard the discipline as
nothing more than demonstration of “affinities” and “influences” among
different literatures—an activity which is not critical at all, belonging rather to
the categorizing spirit of literary history. (R.F.)
4. Caging men as a means of dealing with the problem of crime is a modern
refinement of man’s ancient and limitless inhumanity, as well as his vast
capacity for self-delusion. Murderers and felons used to be hanged, beheaded,
flogged, tortured, broken on the rack, blinded, ridden out of town on a rail,
tarred and feathered, or arrayed in the stocks. Nobody pretended that such
penalties were anything other than punishment and revenge. Before nineteenth
century American developments, dungeons were mostly for the convenient
custody of political prisoners, debtors, and those awaiting trial. American
progress with many another gim “advance”, gave the world the penitentiary. In
1787, Dr. Benjamin Rush read to a small gathering in the Philadelphia home of
Benjamin Franklin a paper in which he said that the right way to treat offenders
was to cause them to repent of their crimes. Ironically taken up by gentle
Quakers, Rush’s notion was that offenders should be locked alone in cells, day
and night, so that in such awful solitude they would have nothing to do but to
ponder their acts, repent, and reform. To this day, the American liberal—
progressive—idea persists that there is some way to make people repent and
reform. Psychiatry, if not solitude will provide perfectability. (Wic.)
5. BUYERS BOX FOR PACKER $350 m price tag is put on Waddington
A 350 million bidding war is set to erupt for Waddington, the packaging group
that last month admitted it had received a take over approach from its
management team. At least two venture capital firms are understood to be
looking at Leeds based Waddington, which is expected to command a takeout
price of at least £325 a share against Friday’s close of £247. One of the potential
buyers is believed to be CinVen. Waddington’s management team, led by chief
executive Martin Buckley and finance director Geoffrey Gibson, are preparing
their own offer for title company. They are being advised by NatWest Equity
Partners, which last week backed the management buyout of Norcros, the
building materials outfit.
Waddington’s three non-executive directors, led by chairman John Hollowood,
are thought to have been alerted to the prospect of rival bidders. City analysts

60
said rival approaches were expected in the wake of Waddington’s recent
announcement, since the takeout price originally mooted was far too low. (S.T.)
6. Revealed: Britain’s secret nuclear plant
A SECRET nuclear fuel plant processing radioactive material a mile from the
centre of a British city has been revealed to have serious safety flaws. Nuclear
fuel more volatile than the uranium which caused the recent radioactive leak at a
Japanese facility is being secretly manufactured in the Rolls-Royce plant in
Derby. Highly enriched uranium fuel is processed at the factory for the Ministry
of Defence (MoD)—although this has never before been disclosed and the local
population has not been told because the work is classified. They are only aware
that the factory makes engines for Trident nuclear submarines. Leaked company
documents reveal that there is a risk of a “criticality accident”—the chain
reaction which caused the nuclear disaster at a fuel manufacturing plant in
Tokaimura last month. It has also emerged that after a safety exercise at the
plant this year, inspectors concluded that it was “unable to demonstrate adequate
contamination control arrangements”. There is still no public emergency plan in
case of disaster. “I can’t believe that they make nuclear fuel in Derby and don’t
have an off-site public emergency plan,” said a nuclear safety expert who has
visited the plant. “Even in Plymouth where they [the MoD] load the uranium
fuel into the submarines, they have a publicized plan for the local population.”
7. I hear America singing
I hear America singing, the varied carols I hear.
Those of mechanics, each one’singing his as it should be
Blithe and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or
Leaves off work,
The boatman singing what belongs to him in his boat, the
Deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter
Singing as he stands,
The woodcutter’s song, the ploughboy’s on his way in the
Morning, or at noon intermission or at sundown,
The delicious singing of the mother, or of the young wife
At work, or of the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day—at night the party of
Young fellows, robust, friendly,
Singing with open mouths their strong melodious songs. (W.W.)
8. Professor W.H. Leeman.
79 Rigby Drive London
Dorset, Merseyside 10th March 1998
Dear Sir!

61
Contributed papers accepted for the Conference will be presented in oral
sessions or in poster sessions, each type of presentation being considered of
equal importance for the success of the conference. The choice between the one
or the other way of presentation will be made by the Programme Committee.
The first is a ten minute talk in a conventional session, followed by a poster
presentation in a poster area. In the poster period (about two hours) authors will
post visual material about their work on a designated board and will be prepared
to present details and answer questions relating to their paper. The second mode
of presentation is the conventional format of twenty minute talks without poster
periods. This will be used for some sessions, particularly those for which public
discussion is especially important or for which there is a large well-defined
audience.
Sincerely T. W. Thomas, Chairman.
9. Speech of Viscount Simon of the House of Lords:
Defamation Bill
3.12 p.m.
The noble and learned Earl, Lord Jowitt, made a speech of much persuasiveness
on the second reading raising this point, and today as is natural and proper, he
has again presented with his usual skill, and I am sure with the greatest sincerity,
many of the same considerations. I certainly do not take the view that the
argument in this matter is all on the side. One could not possibly say that when
one considers that there is considerable academic opinion at the present time in
favour of this change and in view of the fact that there are other countries under
the British Flag where, I understand, there was a change in the law, to a greater
or less degree, in the direction which the noble and learned Earl so earnestly
recommends to the House. But just as I am very willing to accept the view that
the case for resisting the noble Earl’s Amendment is not overwhelming, so I do
not think it reasonable that the view should be taken that the argument is
practically and considerably the other way. The real truth is that, in framing stat
uary provisions about the law of defamation, we have to choose the sensible way
between two principles each of which is greatly to be admired but both of which
ran into some conflict. (July 28,1952)
10. Enemy of the people
Radio 2
Johnnie Walker, the DJ fined £2,000 last week for possessing
cocaine, was suitably contrite as Radio 2 opened its arms to welcome him back
to work. “I’m extremely sorry for all the embarrassment I’ve caused my family,
friends and the BBC,” he said.
Embarrassment? My dear old chap, this is absolutely the best thing to have
happened to Radio 2’s image in years. There has only been one other significant
drugs scandal involving a Radio 2 presenter. One day in 1993, Alan Freeman
accidentally took an overdose of his arthritis pills. Luckily, there was no lasting
damage done to Freeman, but for Radio 2 it was touch and go.

62
Arthritis pills? This was not the image that the station had been assiduously
nurturing. For years, Radio 2 has been straggling to cast off the impression that
it thinks hip is something that you can have replaced on the NHS at some point
in your late seventies.
This straggle has not been a success. To many listeners, it is the station to which
people turn when they start taking an interest in golf, Sanatogen and comfortable
cardigans.
It is a reliable friend to lean on when you hear yourself say:
“Radio 4 is all very well, but why does everything have to be so brash and
loud?”.
So for Radio 2 to have a chap on the staff who’s had a brush with cocaine and
wild living was a lucky bonus. For a short time,
Radio 2 producers could turn up at nightclub doors without being sniggered at.
(S.T.)
11. Tobacco can help stop the hair loss from cancer drugs
TOBACCO plants could be the key to allowing chemotherapy patients to keep
their hair, writes Roger Dobson.
Biotechnologists have succeeded in getting the transgenic plants to grow an
antibody that neutralizes the hair loss effects of the toxic chemicals used in
cancer fighting chemotherapy.
When a solution of the antibodies is rubbed into the hair and scalp before
anticancer treatment begins, it protects and preserves the hair follicles from the
aggressive toxins in the drug
treatment. (S.T.)
12. In most countries, foreign languages have traditionally been taught for a
small number of hours per week, but for several years on end. Modern thought
on this matter suggests that telescoping language courses brings a number of
unexpected advantages. Thus it seems that a course of 500 hours spread over
five years is much less effective than the same course spread over one year,
while if it were concentrated into six months it might produce outstanding
results. One crucial factor here is the reduction in opportunities for forgetting;
however, quite apart from the difficulty of making the time in school timetables
when some other subject would inevitably have to be reduced, there is a limit to
the intensity of language teaching which individuals can tolerate over a
protracted period. It is clear that such a limit exists; it is not known in detail how
the limit varies for different individuals, nor for different agegroups, and
research into these factors is urgently needed. At any rate, a larger total number
of hours per week and a tendency towards more frequent teaching periods are
the two aspects of intensity which are at present being tried out in many places,
with generally encouraging results. (RSt.)
13. US firm quits biscuit race
The US venture capital firm Hicks, Muse, Tate & Furst,

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which bought Hillsdown Holdings this year, has ruled out a bid for United
Biscuits.
Hicks Muse, which owns the Peak Freans brand, was previously a hot favourite
in the City to bid for UB, whose products include McVitie’s, Penguin, Jaffa
Cakes, KP, Skips and Phileas
Fogg. UB, which is expected to command a price tag of about £ l .2 billion,
admitted last week it had received an approach that might lead to an offer.
However, Hicks Muse’s departure leaves just four serious bidders for some or
all of UB!
They are two venture capitalists—Kohlberg Kravis Roberts and CVC Capital
Partners—as well as Nabisco, America’s leading biscuits firm, and Danone, the
French food group that owns Jacob’s cream crackers and HP sauce. (S.T.)
14. Between my finger and my thumb
The squat pen rests; snug as a gun.
Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging, I look down.
Till his straining ramp among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.
The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked
Loving their cool hardness in our hands.
My God, the old man could handle a spade.
Just like his old man. (S.H.)

Практическое занятие №15

Stylistics, norm and translation

Tasks for the seminar:

1. Analyze the means of rendering the stylistic effect produced by figures of

speech in the following examples. Was the task fulfilled successfully?

Hyperbole:
1. I went out and caught the boy and Я вышел из пещеры, поймал
shook him until his freckles rattled. мальчишку и начал так его
трясти, что веснушки
застучали друг о друга.

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2. «Enough», says Bill. In ten - Этого довольно, -
minutes I shall cross the Central, говорит Билл.- В десять минут
я пересеку
Southern, and Middle Western Центральные. Южные и
States, and be legging it Среднезападные штаты и
trippingly for the Canadian свободно успею добежать до
border». канадской границы.
Understatement:
1. I think you are a little high in Думаю, что вы запрашиваете
your demands, and I hereby make лишнее, а потому делаю вам со
you a counter-proposition, which своей стороны
I am inclined to believe you will accept контрпредложение
и полагаю, что вы его примите.
Metonymy:
1. The deadly .45 of the false Раздался выстрел вероломного
friend cracked and filled the друга, и негодующим эхом
gorge with a roar that the walls ответили ему каменные стены
hurled back with indignant echoes. ущелья.
Personification:
1. A dead leaf fell in Soapy’s lap. Желтый лист упал на колени
That was Jack Frost’s card. Сопи. То была визитная
Jack is kind to the regular denizens карточка Деда Мороза; этот
of Madison Square, and gives старик добр к постоянным
fair warning of his annual call. обитателям Мэдисон-Сквера и
честно предупреждает их о
своем близком приходе.
Metaphor:
1. Bill and me figured that Мы с Биллом рассчитывали, что
Ebenezer would melt down Эбенезер сразу выложит нам за
for a ransom of two сынка две тысячи долларов, никак
thousand-dollars to a cent. не меньше.
2. «I ain't attempting», says he, - Я вовсе не пытаюсь унизить про-
«to decry the celebrated славленную, с моральной точки
moral aspect of parental зрения, родительскую любовь, но
affection, but we’re dealing ведь мы имеем дело с людьми, а
with humans, and it ain’t какой же человек нашел бы в себе
human for anybody to силы заплатить две тысячи
give up two thousand долларов за эту веснушчатую
dollars for that forty-pound дикую кошку!
chunk of freckled wildcat».
Periphrasis:
1. One more night of this kjd Еще одна ночь с этим
мальчишкой,

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will send me to a bed in и придется меня везти в
Bedlam. сумасшедший дом.
Epithet:
1. «I never lost my nerve yet Я никогда ничего не боялся,
till we kidnapped that пока мы не украли эту
two-legged skyrocket of a kid.» двуногую ракету.
Simile:
1. There was a town down there, as Есть там один городишко,
flat as a flannel-cake, плоский, как блин, и, конечно,
and called Summit, of course. называется Вершины.
2. That boy put up a fight like Мальчишка этот дрался, как
a welter-weight cinnamon bear, бурый медведь среднего веса, но
but, at last, we got him down in в конце концов мы его запихали
the bottom of the buggy and на дно шарабана и поехали.
drove away.

2. Analyze the problems connected with rendering the stylistic devices from
English into Russian. Give your versions of translation of the italicized words
and expressions.
1. On the opposite side of the street was a restaurant of no great pretensions. It
catered to large appetites and modest purses. Its crockery and atmosphere were
thick; its soup and napery thin. Into this place Soapy took his accusive shoes and
telltale trousers without challenge. At a table he sat and consumed beefsteak,
flapjacks, doughnuts and pie. And then to the waiter he betrayed the fact that the
minutest coin and himself were strangers (O.Henry. The Cop and the Anthem).
2. All the way to the hospital the lights were green as peppermints.
Trees of black iron broke into leaf
ahead of me, as if
I were the lucky prince
in an enchanted wood
Summoning summer with my whistle,
banishing winter with a nod.
Swung by the road from bend to bend,
I was aware that blood was running
down through the delta of my wrist
and under arches
of bright bone. Centuries,
continents it had crossed;
from an undisclosed beginning
spiralling to an unmapped end.
(Jon Stallworthy. From «The Almond Tree»)
3. «...Have you known her long?»
«А certain time».

66
«Do you know her well?»
«Pretty well».
«When you say «Pretty well», you mean - ?»
«Fairly well. Tolerably well» (P.G. Wodehouse).

Практическое занятие №16

The analysis of the literary text

SAMPLES OF STYLISTIC ANALYSIS

1. My dad had a small insurance agency in Newport. He had moved there

because his sister had married old Newport money and was a big wheel in the
Preservation Society. At fifteen I'm an orphan, and Vic moves in. "From now on
you'll do as I tell you," he says. It impressed me. Vic had never really shown any
muscle before. (N.T.)
The first person singular pronouns indicate that we deal either with the entrusted
narrative or with the personage's uttered monologue.
The communicative situation is highly informal. The vocabulary includes not
only standard colloquial words and expressions such as "dad", "to show muscle"
(which is based on metonymy), the intensifying "really'', but also the
substandard metaphor - "a big wheel". The latter also indicates the lack of
respect of the speaker towards his aunt, which is further sustained by his
metonymical qualification of her husband ("old Newport money").
The syntax, too, participates in conveying the atmosphere of colloquial
informality - sentences are predominantly short. Structures are either simple or,
even when consisting of two clauses, offer the least complicated cases of
subordination.
The change of tenses registers changes in the chronology of narrated events.
Especially conspicuous is the introduction of Present Indefinite (Simple) Tense,
which creates the effect of immediacy and nearness of some particular moment,
which, in its turn, signifies the importance of this event, thus foregrounding it,
bringing it into the limelight - and making it the logical and emotional centre of
the discourse.
2. And out of the quiet it came to Abramovici that the battle was over, it had left
him alive; it had been a battle - a battle! You know where people go out and
push little buttons and pull little triggers and figure out targets and aim with the
intention to kill, to tear your guts, to blow out у our brains, to put great ragged
holes in the body you've been taking care of and feeding and washing all your
life, holes out of which your blood comes pouring, more blood than you ever
could wash off, hold back, stop with all the bandages in the world! (St.H.)
Here we deal with the change "of the type of narration: from the author's
narrative, starting the paragraph, to represented inner speech of the character.

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The transition tells on the vocabulary which becomes more colloquial (cf.
''guts") and more emotional (cf. the hyperbole "all the bandages in the world");
on the syntax brimming with parallelisms; on the punctuation passing on to the
emphatic points of exclamation and dashes; on the morphology. "Naive"
periphrases are used to describe the act of firing and its deadly effect Third
person pronouns give way to the second person ("you", "your") embracing both
communicants - the personage (author) and the reader, establishing close links
between them, involving the reader into the feelings and sentiments of the
character.
Very important is repetition. Besides syntactical repetition (parallelism)
mentioned above, pay attention to the repetition of "battle", because it is this
word which on one hand, actually marks the shift from one type of narration to
another (the first "battle" bringing in the author's voice, the last two - that of
Abramovici). On the other hand, the repetition creates continuity and cohesion
and allows the two voices merge, making the transition smooth and almost
imperceptible.

Texts for Stylistic Analysis

1. As various aids to recovery were removed from him and he began to speak
more, it was observed that his relationship to language was unusual. He
mouthed. Not only did he clench his fists with the effort of speaking, he
squinted. It seemed that a word was an object, a material object, round and
smooth sometimes, a golf-ball of a thing that he could just about manage to get
through his mouth, though it deformed his face in the passage. Some words were
jagged and these became awful passages of pain and struggle that made the
other children laugh. Patience and silence seemed the greater part of his nature.
Bit by bit he learnt to control the anguish of speaking until the golf-balls and
jagged stones, the toads and jewels passed through his mouth with not much
more than the normal effort. (W.G1.)
2. Scobie turned up James Street past the Secretariat. With its long balconies it
has always reminded him of a hospital. For fifteen years he had watched the
arrival of a succession of patients; periodically, at the end of eighteen months
certain patients were sent home, yellow and nervy and others took their place -
Colonial Secretaries, Secretaries of Agriculture, Treasurers and Directors of
Public Works. He watched their temperature charts every one - the first outbreak
of unreasonable temper, the drink too many, the sudden attack for principle after
a year of acquiescence. The black clerks carried their bedside manner like
doctors down the corridors; cheerful and respectful they put up with any insult.
The patient was always right. (Gr.Gr.)

68
3. We have all seen those swinging gates which, when their swing is
considerable, go to and fro without locking. When the swing has declined,
however, the latch suddenly drops to its place, the gate is held and after a short
rattle the motion is all over. We have to explain an effect something like that.
When the two atoms meet, the repulsions of their electron shells usually cause
them to recoil; but if the motion is small and the atoms spend a longer time in
each other's neighbourhood, there is time for something to happen in the internal
arrangements of both atoms, like the drop of the latch-gate into its socket, and
the atoms are held. (W.Br.)

4. We marched on, fifteen miles a day, till we came to the maze of canals and
streams which lead the Euphrates into the Babylonian cornfields. The bridges
are built high for the floods of winter. Sometimes the rice fields spread their
tasseled lakes, off which the morning sun would glance to blind us. Then one
noon, when the glare had shifted, we saw ahead the great black walls of
Babylon, stretched on the low horizon against the heavy sky. Not that its walls
were near; it was their height that let us see them. When at last we passed
between the wheatfields yellowing for the second harvest, which fringed the
moat, and stood below, it was like being under mountain cliffs. One could see
the bricks and bitumen; yet it seemed impossible this could be the work of
human hands. Seventy-five feet stand the walls of Babylon; more than thirty
thick; and each side of the square they form measure fifteen miles. We saw no
sign of the royal army; there was room for it all to encamp within, some twenty
thousand foot and fifty thousand horse.

5. "You're the last person I wanted to see. The sight of you dries up all my plans
and hopes. I wish I were back at war still, because it's easier to fight you than to
live with you. War's a pleasure do you hear me? -War's a pleasure compared to
what faces us now: trying to build up a peacetime with you in the middle of it."
"I'm not going to be a part of any peacetime of yours. I'm going a long way from
here and make my own world that's fit for a man to live in. Where a man can be
free, and have a chance, and do what he wants to do in his own way," Henry
said.
"Henry, let's try again."
"Try what? Living here? Speaking polite down to all the old men like you?
Standing like sheep at the street corner until - the red light turns to green? Being
a good boy and a good sheep, like all the stinking ideas you get out of your
books? Oh, no! I'll make a world, and I'll show you." (Th.W.)

6. This constant succession of glasses produced considerable effect upon Mr.

Pickwick; his countenance beamed with the most sunny smiles, laughter played
around his lips, and good-humored merriment twinkled in his eyes. Yielding by
degrees to the influence of the exciting liquid rendered more so by the heat, Mr.

69
Pickwick expressed a strong desire to recollect a song which he had heard in his
infancy, and the attempt proving abortive, sought to stimulate his memory with
more glasses of punch, which appeared to have quite a contrary effect; for, from
forgetting the words of the song, he began to forget how to articulate any words
at all; and finally, after rising to his legs to address the company in an eloquent
speech, he fell into the barrow, and fast asleep, simultaneously. (D.)

7. It was a marvelous day in late August, and Wimsey's soul purred within him
as he pushed the car along. The road from Kirkcudbright to Newton-Stuart is of
a varied loveliness hard to surpass, and with the sky full of bright sun and rolling
cloud-banks, hedges filled with flowers, a well-made road, a lively engine and a
prospect of a good corpse at the end of it, Lord Peter's cup of happiness was full.
He was a man who loved simple pleasures.
He passed through Gatehouse, waving a cheerful hand to the proprietor of
Antworth Hotel, climbed up beneath the grim blackness of Cardoness Castle,
drank in for the thousandth time the strange Japanese beauty of Mossyard Farm,
set like a red jewel under its tufted trees on the blue sea's rim, and the Italian
loveliness of Kirkdale, with its fringe of thin and twisted trees and the blue coast
gleaming across the way. (D.S.)

8. The two transports had sneaked up from the South in the first graying flush of
dawn, their cumbersome mass cutting smoothly through the water whose still
greater mass bore them silently, themselves as gray as the dawn which
camouflaged them. Now, in the fresh early morning of a lovely tropic day they
lay quietly at anchor in the channel, nearer to the one island than to the other
which was only a cloud on the horizon. To their crews, this was a routine
mission and one they knew well: that of delivering fresh reinforcement troops.
But to the men who comprised the cargo of infantry this trip was neither routine
nor known and was composed of a mixture of dense anxiety and tense
excitement. (J.)

9. I am always drawn back to places where I have lived, the houses and their
neighborhoods. For instance, there is a brown-stone in the East Seventies where,
during the early years of the war, I had my first New York apartment. It was one
room crowded with attic furniture, a sofa and fat chairs upholstered in that itchy,
particular red velvet that one associates with hot days on a train. The walls were
stucco, and a color rather like tobacco-spit. Everywhere, in the bathroom too,
there v/ere prints of Roman rains freckled, brown with age. The single window
looked out on the fire escape. Even so, my spirits heightened whenever I felt in
my pocket the key to this apartment; with all its gloom, it was still a place of my
own, the first, and my books were there, and jars of pencils to sharpen,
everything I needed, so I felt, to become the writer I wanted to be. (T.C.)

70
10. He leaned his elbows on the porch ledge and stood looking down through
the screens at the familiar scene of the barracks square laid out below with the
tiers of porches dark in the faces of the three-story concrete barracks fronting on
the square. He was feeling a half-sheepish affection for his vantage point that he
was leaving.
Below him under the blows of the February Hawaiian sun the quadrangle gasped
defenselessly, like an exhausted fighter. Through the heat haze the thin
midmorning film of the parched red dust came up a muted orchestra of sounds:
the clanking of steel-wheeled carts bouncing over brick, the slappings of oiled
leather sling-straps, the shuffling beat of shoesoles, the hoarse expletive of
irritated noncoms. (J.)

11. Around noon the last shivering wedding guest arrived at the farmhouse: then
for all the miles around nothing moved on the gale-haunted moors - neither
carriage, wagon, nor human figure. The road wound emptily over the low hills.
The gray day turned still colder, and invisible clouds of air began to stir slowly
in great icy swaths, as if signalling some convulsive change beyond the sky.
From across the downs came the boom of surf against the island cliffs. Within
an hour the sea wind rose to a steady moan, and then within the next hour rose
still more to become a screaming ocean of air.
Ribbons of shouted laughter and music - wild waltzes and reels streamed thinly
from the house, but all the wedding sounds were engulfed, drowned and then
lost in the steady roar of the gale. Finally, at three o'clock, spits of snow became
a steady swirl of white that obscured the landscape more thoroughly than any
fog that had ever rolled in from the sea. (M.W.)

12. There was an area east of the Isle of Dogs in London which was an unusual
mixture even for those surroundings. Among the walled-off rectangles of water,
the warehouses, railway lines and travelling cranes, were two streets of mean
houses with two pubs and two shops among them. The bulks of tramp steamers
hung over the houses where there had been as many languages spoken as
families that lived there. But just now not much was being said, for the whole
area had been evacuated officially and even a ship that was hit and set on fire
had few spectators near it. There was a kind of tent in the sky over London,
which was composed of the faint white beams of searchlights, with barrage
balloons dotted here and there. The barrage balloons were all that the
searchlights discovered in the sky, and the bombs came down, it seemed,
mysteriously out of emptiness. They fell round the great fire. (W.G1.)

13. There is no month in the whole year, in which nature wears a more beautiful
appearance than in the month of August; Spring has many beauties, and May is
a fresh and blooming month: but the charms of this time of year are enhanced by

71
their contrast with the winter season. August has no such advantage. It comes
when we remember nothing but clear skies, green fields, and sweet-smelling
flowers - when the recollection of snow, and ice. and bleak winds, has faded
from our minds as completely as they have disappeared from the earth - and yet
what a pleasant time it is. Orchards and cornfields ring with the hum of labour;
trees bend beneath the thick clusters of rich fruit which bow their branches to the
ground; and the corn, piled in graceful sheaves, or waving in every light breath
that sweeps above it, as if it wooed the sickle, tinges the landscape with a golden
hue. A mellow softness appears to hang over the whole earth; the influence of
the season seems to extend itself to the very wagon, whose slow motion across
the well reaped field is perceptible only to the eye, but strikes with no harsh
sound upon the ear. (D.)

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 Перечень теоретических вопросов к зачету

1. Stylistics as a branch of linguistic science

2. Stylistic function notion
3. Literary Stratum of Words.
4. Colloquial Words. Phraseology
5. The metaphorical group
6. Metonymycal group
7. Figures of quantity
8. Figures of Contrast
9. Figures of Inequality
10.The absence of elements which are obligatory in a neutral construction
11.Excess of non-essential elements
12.Change of word-order Revaluation of syntactical meanings
13.Types of Syntactic Connection Viewed Stylistically
14.An overview of functional style systems
15. Literary colloquial style
16. Familiar colloquial style
17. Publicist (media) style
18. The style of official documents
19.Scientific/academic style
20.Sound Instrumenting,
21.Graphon. Graphon. Graphical Means
22.Morphemic Repetition. Extension of Morphemic Valency
23.Marked, semi-marked and unmarked structures
24.Grammatical metaphor and types of grammatical transposition
25.The noun and its stylistic potential
26.The article and its stylistic potential
27.The stylistic power of the pronoun

73
28.The adjective and its stylistic functions
29.The verb and its stylistic properties
30.Affixation and its expressiveness

74