Mr. Hungerton, her father realy was
It is a belletristic style;a piece of emotional prose. I person type of narration. The plot is simple.It is a description. A heroe describes a lady and his relation with her. His description is interrupted by his thougts about friendship and passion (), about relation between man and woman, and some dialogue between them that have some thoughts.
Phonetic level:
alliteration: flaffy feathery the sound f
woman, world,unwire sound w
Lexical level:
Bimetallism,soldier(professional word),aloof,cockatoo/
Semasiological level:
hyperbola: was the most tactless person upon the world.
epithets:a ruined man, wicked days, delicately bronzed skin,raven hair, eiquid eyes, exquisite lips.
anthitesis: good natured,but absolutely centred upon hissilly self.
simile:felt like a soldier.
comparison: to talk as we have talked;as much as.
extended repetion: friend,quite good friends.
:forlorn hope;hope of victory.
anaphora:perfectly frank, perfectly kindly, and perfectly unsexual.
Syntax level:
inversion: what under our present conditions would happen then?
partial inversion: How beautiful she was!
oposiopests: I want.
sel expressions: forlorn hope; what a pity? At her ease with me.
rethoric question: Dont woman always know?
Do you suppose any woman in the world was ever taken unawares?
a lot of emphatic construction: bimetaiiism, a subject upon which
the soldier who awaits
exclaimed sentences: What a pity to spoil it!
and the moment of Fate had come!
and yet how aloof! How beautiful she was!
the usage of gerund: wineing, faltering,unshrinking.
was, could have driven.
passive voice: were called, was taken.
future: going to proposed
infinitive: proposed to demonstrated, come round to..
flaffy- , ;silly-, ; chirrup()-,;
feathery-, ;depreciation--; feeble violence-; debt-borg; bounced-pidstrubyvatu; forlorn(felon)- newasnui,samitnui; sloof-baidyzist; frank-moneta;timidity-soromluvist; heritage-spadok; bent-poxulenui; averted(evet)-vidvodutu(poglad); faltering-boiazkuy; treason-zrada; raven-kolir voronja4ogo krula; suspense-tyrbota; repulced-rozbuta; reproof-dogana, dokir
10. The Rime of the Ancient Marine (by Samuel Coleridge)
The Rime of the Ancient Marine is a poem, written by Samuel Coleridge. Samuel Taylor Coleridge was an English poet, Romantic, literary critic and philosopher who with his friend William Wordsworth was one of the founders of the Romantic movement in England and one of the Lake poets. He is probably best known for his poems The Rime of the Ancient Marine and Kubla Klan, as well as for his major prose work Biografia Literaria. The Rime of the Ancient Marine is the longest poem by the English poet Samuel Coleridge, written in 1797-98 and published in the first edition of Lyrical Ballads in 1789. This poem relates the events experienced by a marine who has returned from a long sea voyage. The marine stops a man who is on the way to a wedding ceremony and begines to recite a story. In this poem Coleridge uses narrative techniques such as personification and repetition to create either a sense of danger of supernatural or of serenity, depending on the mood of each of the different parts of the poem.
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In the text we deal with the first person point of view. The narrator participates in the action of the story.
Phonetic level: versification, onomatopeia (wist (), sip ( ), full (wist mist, wail () sail ( , ) and incomplete rhymes (free-she, crew two) as well as internal rhyme (unslaked () baked, parched () glazed). In this poem rhymes are triple (up,cup, sip), cross (fly, by, bow), framing (drip (), bar, star, tip). The poetry is writing in iambic trimeter and consists of eighteen stanzas who are not similar (there are those of 6, 5 and 3 lines), so we can notice macro- and micro segmentation. There is one interior graphone in the poetry (oer).
Lexical level:
poetic words: beheld (), twain (), dice ( ) thrice (), woe (, ), fled- ( flee , ). Among of them are archaic word forms (betwixt - , ),), archaisms: quoth (. , ), clombe (. climb ), nether (. ). Barbarisms: gramercy (! ).
Semasiological level:
- metonymy: each throats was parched (, ) and glazed each eye.
- metaphor: western wave was all a flame, burning face, at one stride comes the dark ( () ), thick the night, the spectre-bark (-), the horned Moon ( ), star-dogged Moon (, ).
- .personification: upon the western wave rested the broad bright Sun, the stars rush out,
The Night-Mare Life-In-Death was she.
- similes: are those her sales that glance in the Sun, like restless gossamers ( ), as white as leprosy (), her locks were yelow as gold, fear at my heart as at a cup, it passed me by like the whizz () of my cross-bow! ()
- climax: a spek (), a mist (), a shape, I wist! ( , )
- epithets: broad bright Sun, broad and burning face, her looks were free.
- euphemism: the souls did from their bodies fly.
- perifrasis: Heavens Mother.
- parallelism: The Suns rim dips; the stars rush out.
Syntactical level:
- simple repetition: moved and moved, nears and nears, neared and neared.
- polysindenton: It plunged () and tacked ( ) and veered ( ).
- asyndenton: I bit my arm, I sucked () the blood.
- parcellation: and cried, a sail! a sail!
- nominative sentences: a weary time! a weary time!( )
- emphatic construction: the Sun did peer, the souls did from their bodies fly, they for joy did grin? The dew did drip ( ).
- rhetoric questions: Is that a DEATH? and are there two? Is DEATH that womans mate?
- stylistic inversion:
Morphological level:
- use of possesssve case: the Suns rime (, ), Heavens Mother, womans mate, steersmans face.
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- use of indefinite article (a weary time!).
vocabulary
dodged
a water-sprite , ,
dumb ,
hither
weal
a tide
to steady
keel .
a dangeon-gate
to peer
( )
alas!- !
hulk
dew , ,
groan
ghastly ,
to fle
bliss
11 Far from the Madding Crowd
(1874) is Thomas Hardy's fourth novel and his first major literary success. It originally appeared, anonymously, as a monthly serial in Cornhill Magazine, where it gained a wide readership; critical notices, too, were plentiful and mostly positive. Hardy revised the text extensively for the 1895 edition, and made further changes for the 1901 edition.
Far from the Madding Crowd offers in ample measure the details of English rural life that Hardy so relished. Hardy took the title from Thomas Gray's poem Elegy Written in a Country Churchyard (1751)
the third person narrator which provides the greatest flexibility to the author (an omniscient author)
Stylistic morphology
transposition In his face might notice that many of the hues and curves of youth had tarried on to manhood: there even remained in his remoter crannies some relics of the boy.
wrong word order in the Past Perfect model - had they been exhibited with due consideration
the Possesive Case worlds room.
participles this instrument being several years older, being encased in ordinary leather leggings, extending upon his countenance, formed by his neighbours, spread out at the base , etc.
Passive construction his emotions were clear separated
Stylistic lexicology
phraseological units: He was a man of sound judgement (it means that he was a man of good and sensible judgement); in the scale of public opinion (it means that he was in centre of public attention); a kind of pepper-and-salt mixture (beginning to become grey or negative in someones eyes); moral colour (a number of moral values which every person should develop in herself)
A word hue is marked as a literary word
Nonce-word low-crowned
a neologism green-faced
Stylistic semasiology
the metaphor: mind is more responsible than flesh and sinew
Next metaphor - many of the hues and curves of youth had tarried on to manhood
Mataphor the smaller of its hands
synecdoche pressing his person face close to the glass
Personification the congregation reached the Nicene creed, diverging wrinkles appeared round them, rising sun, minutes were told with precision.
Epithet unimportant distance; low-crowned felt hat, roomy apartament, easy motions, proper clothes, small silver clock, sunny and exceedingly mild morning etc.
estimated epithets general good character, faintly perceptible bend, emphaticaly large boots, he was rather a good man.
figurative epithet: man of misty looks, imposing presence.
Antonomasia Farmer Oak
Synonymia (e.g. Oaks watch which is this instrument, it, timekeeper, fob
irony Oak remedied by thumps and shakes when the stopping peculiarity appeared.
antithesis: when his friends and critics were in tantrums, he was considered rather a bad man; when they were pleased, he was rather a good man; when they were neither, he was a man whose moral colour was a kind of pepper-and-salt mixture.
hyperbole: the corners of his mouth spread till they were within an important distance of his ears
Stylistic syntax
Parenthetic sentences / parenthesis On Sundays he was a man of misty views, rather giving to postponing, and hampered by his best clothes and umbrella: upon the whole, one who felt himself to occupy morally that vast middle space of Laodicean neutrality which lay between the Communion people of the parish and the drunken section, - that he has went to church, but yawned privately by the time the conegation reached the Nicene creed, - and though of what they would be for dinner when he meant to be listening to the sermon
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Parallelism in other words, it was a watch as to shape and intention, and a small clock as to size; this instrument had the peculiarity of going either too fast or not at all.
parenthetical words and constructions such as it may be mentioned, this may be said
12 The call of the wild by Jack London
The call of the wild -metaphor
- 3d person point of view
- Subjective narrator
- Omniscient
Morphological level:
Empahtic construction (they could not but be other)
Lexicological level:
Poetic words:
- neologism (sun-kissed);
- barbarism (veranda,arbors);
- foreign wds (cement tank);
- colloquial wds (paddocks);
- exotims (orchard,berry);
- phraseological units (nose out of doors or set foot to ground, kept down);
Semasiological level:
Figures of quantity:
- hyperbole (legion of housemaids)
Figeres of guality:
- metaphor (warm long hair, companies were booming to find, sun-kissed Santa, roading library, whole realm);
- periphrasis (a yellow metal);
- personification (over this great demence Buck ruled)
Figures of relations:
- antithesis (But for every);
- simile (as country gentlmen);
Syntactical level:
- nominative sentences;
- passive voice (glimpses could be cough);
- repetition (men wanted dogs, and the dogs they wanted, here he was born and here he lived the four years);
- inversion (Judge Millers place, it was called);
- polysyndeton (4 and);
- incoming paralelism (and here he lived the four years);
- enumeration (rows of vine-clod servants cotttages)
13 The gift of the magi by O.Henry
One dollar and eighty-seven cents. That was all. And sixty cents of it was in pennies. Pennies saved one and two at time by bulldozing the grocer.
3d person narration
Ive found such stylistic devices and expressive means on:
Lexicological level
General language
Phraseological units: looked out, pulled down, hang out, Della finished her cry
Semasiological level
Hyperbole: no letter would go; no mortal finger could coax a ring
Metaphor: bulldozing the grocer; ones cheeks burned; with a whirl of skirts
Euphemism: Antithesis: her eyes were shining brilliantly, but her face had lost its color
Simile: and shining like a cascade of brown waters
Syntactical level
Nominative sentence: One dollar and eighty-seven cents. Her Jim.
Repetition: (One dollar and eighty-seven cents.) (On went her old brown jacket; on went her old brown hat) (gray)
Asyndeton: On went her old brown jacket (;) on went her old brown hat
Anadiplosis: And sixty cents of it was in pennies. Pennies saved
Emphatic words: something: for something nice for him. Something fine and rare and sterling something just
Enumeration: gray cat, gray fence, gray backyard
Text 14
The rime of the ancient mariner
It is an ancient Mariner
Samuel Taylor Coleridge (pronounced /koʊlrɪdʒ/; 21 October 1772 25 July 1834) was an English poet, Romantic, literary critic and philosopher who, with his friend William Wordsworth, was one of the founders of the Romantic Movement in England and one of the Lake Poets. He is probably best known for his poems The Rime of the Ancient Mariner and Kubla Khan, as well as for his major prose work Biographia Literaria. His critical work, especially on Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking culture. He coined many familiar words and phrases, including the celebrated suspension of disbelief. He was a major influence, via Emerson, on American transcendentalism.
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The construction of the Ancient Mariner is that of a narrative-based medieval ballad, conforming to the genres traditional rules of meter, of fairly regular quatrans, whith a 8 syllable tetrameter structure, creating the impression that it is a product of oral tradition rather than a written culture.
Phonetical level:
Rhyme: crossing
Author use a short sentence structure and internal rhyme, as in The ship was cheered, the rarbour cleared.
onomatopoetia: din, beat,cheered (indirect)
interior graphons: stoppst, mayst
Morphological level:
repetition: below the kirk, higher and higher
personification his had drop cheered, the sun came up
Lexicologacal level
1) poetic words:
- archaic: Mayst, Quoth he
- archaic form: Eftsoons, thus, spake
- Phras. unit: stood still, came up, went down
Semasiological level:
- hyperbol: an acient Mariner
- metonymy: the ship was cheered
- synecdoche: his hand dropt he
- simili: and listen like a three years child
- antitesis: he cannot chuse but hear
Syntactical level:
- ellipsis: the harbor cleared
- exclamatory sent.: Hold off!
- inversion: did we drop; quoth he: came he
- lovered stylistic tone: loon
Text 15
The Secret Sharer by Joseph Conrad (On my right hand there were lines of fishing stakes)
Description of the text is subjective, because it conveys personal authors view of the object in order to provoke a highly emotional response from the reader. Description is from the 1 person singular point of view. Narrator is the participant of the events.
1) Phonetical and graphical level
Indirect onomatopoeia: imperceptible ripple; disturbing sounds by this time voices, footsteps,
2) Morphological level (there are no obvious EM)
3) Lexical level
Terms: hull, funnel, mast, steward, poop desk, bar, rail.
Exotisms: Pakman pagoda.
4) Semasiological level
Metaphors: sun shone smoothly, the eye could reach, cloud of the smoke, devious curves of the stream, shore joined to the stable sea, roaming eyes.
Epithets: blue sea, stable sea, parting glance, mistercus system.
Similies: gleams as of a few scattered piece of silver, ships rail as if on the shoulder of a trusted friend.
Set phrases: edge to edge, gone for good, far from all human eyes.
5) Syntactic level
On the whole this extract of the text is characterized by the long and complicated sentences; declaration sentences; compound and complex sentences; enumeration (and around us nothing .) (23 line).
16 ``The Moonstone`` by Wilkie Collins
( Seeing that my lady took an interest in the out-of-door work, and the farms,)
The text under consideration comes from the novel ``The Moonstone`` by Wilkie Collins, who is also famous for ``The Woman in White``. The text deals with the story told by narrator (text is something like warning to some of us). The basic theme is problem of relationship between man and woman. The central idea is in Salinas words - ``Lord! how little you must know of women``.
From the point of viewof presentation it is 1- st person narration (narrator is all-knowing, reliable, objective.)
The plot is complex, realistic.
The climax () - I actually rose up, as it were, and tried to get out of it. Not for nothing!
The denouement (*) - You will hardly believe it, but it is nevertheless true-she was fool enough to refuse.
Semasiological unit-
Metaphor got promotion, dash of love, my mind began to misgive me.
Parallelism You hear more than enough of married people living together miserably., I put it to my mistress, as in duty bound, just as I had put it to myself.
Allusion -Garden of Eden.
Parsalation - Lord! how little you must know of women, if you ask that.
Phrazeological unit - over in my mind, burst out laughing, Not for nothing!, let me off for nothing.
Syntactic unit
Direct speech - my lady says, "Sir John, your bailiff is a stupid old man..
Rhetorical question - what more could I possibly want to make me happy?
Sentences are of different kinds, mostly complex.
17 The owl
Downhill I came, hungry, and yet not straved,
(Full name: Philip Edward Thomas)
Late nineteenth and early twentieth-century British poet, essayist, literary critic, and biographer.
He wrote fewer than 150 poems in his lifetime before being killed in World War I, Thomas's slender body of poetry has come to be seen as occupying an important position in twentieth-century British poetry. Written in a colloquial style that rejects both the flowery rhetoric of late-Victorian poetry and the self-consciousness of the Imagists, Thomas's poems are informed by a distinctly modern vision of doubt, alienation, and human limitation. Although he shares a love of nature expressed with the Georgian poets and the topic of war with poets such as Wilfred Owen and Siegfried Sassoon, Thomas's poems are known for their willingness to grapple with difficulty and uncertainty.
"The Owl" presents its narrative with a mild, somewhat conversational simplicity: Downhill I came, the speaker explains; then I was at the inn; then I heard the owl; and what the owl's cry brought to mind made me regard my comfort as "salted and sobered." The poem gets its power from fine, crucial variations from ordinary speech. For instance, both "salted" and "sobered" fit the vocabulary of an inna place where salt is consumed and where people are sobered or not. The moral meanings of the phrasecomfort is both relished and tempered by a reminder of its oppositegrow out of that plain vocabulary. In the line after he uses the word "plain," Thomas deploys some effective, precise words of one syllable; while he "escaped," others in his predicament "could not, that night, as in I went." Thomas' penetrating but apparently simple languagelike a fine, scentless oilgoes deep into its subject. His moral reflection is tentative rather than assertive, minimal rather than sweeping, quiet rather than loud, and candid about appreciating his own good fortune. The poem respects the mysterious nature of fortune, and expresses that respect with its even, temperate voice. (There's an irony to the word "soldiers" in the final line. Thomas died as a soldier in World War I.
The construction with its flow and stress on key words (e.g. hungry, cold, tired) is simple yet effective. Synonyms for these words are picked up and matched in the second stanza, and a new element, the owl's cry, is introduced.
It sounds as if he has been travelling and arrived at an inn for the night. At first he is thankful that he is now very comfortable, but the cry of the owl reminds him that there are many people outside still, cold, hungry and miserable and it spoils his own good mood.
The owls cry grieves, lonely in the cold night, and the poet pities those who do not share his own warmth and comfort, but he is too honest to deny that his knowledge of the privations of others adds to his own pleasure and contentment. This honesty is one of his great strengths; it toughens the war poem,
In the text we deal with the first person point of view the narrator in the action of the story.
Idea: result of war in life of people
Belletristic style, poetry
Phonetic level
Structure, Rhyme, and Meter: the poetry consists of four stanzas. tetrameter
Iamb
Cross rhyme: abab
Lexicologic level.
Word symbol Owl - Symbol of Wisdom and death (there)
Semasiological level.
Personification / Metaphor:melancholy cry,
bird's voice
enumeration: hungry, cold, and tired
enumeration: I had food, fire and rest
Synonyms Soldiers and poor
repose rest-
gradation: No merry not, nor cause of merriment,
Antithesis Then at the inn I had food, fire, and rest,
Knowing how hungry, cold, and tired was I.
Phraseological units lay_under the stars
Shaken out
barred out
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Syntactical level.
long complicated sen
18
E. Hemingway
They say you never hear
Phonetics:
- Indirect onomatopoeia: last shell; third short; shell has just alighted; crying;
Morphology:
- Passive voice: cities are shelled; I was induced;
- Subjective mood: it would be;
Lexicology:
- Set Hhr.: start from; crash against; listened for; were back; going on; be careful; reach a point; the idea of; get out; turned on; rolled up; worth fighting for; slowed down; at all; looks at;
- Learned W.: battery; front; mining; trench raiding; siege; warfare; machineguns;
Semasiology:
- Metaphor: one that hits you; that hits this hotel; Madrid is quiet; weather is beautiful; eats wool;
- Simile: like a subway train; as deep as;
- Metonymy: streets crowded;
- Epithet: crowds are cheerful; optimistic people; river very chilly; heavy old deep-sided ones;
- Antithesis: pleasant pleasanter;
Syntax:
- Polysyndeton: And while the glass and you ;
- Enumeration: cordials, whiskeys, vermouths;
The first person singular pronoun we deal with the untrasted narrative. Narrator is the participant of the events. Mixture of narration and description. Theme war and human being. Climax shell of hotel.
19 Wuthering Heights by Emily Bronte
The text come from the novel `` Wuthering Heights`` written by Emily Bronte. This novel made her a well-known auther. By the way it is the only novel she wrote, because she died the year after it was published in 1847. Emily was not the only talented person in family, accept her there were two her sisters Anna and Sharlotta who were also famous writers. Her brother Brenuel was good painter. This extract deals with description of the house `` Wuthering Heights`` and characteristic of Heatcliff as a strange person. The basic theme of this episode to show the severity of the house which symbolize Heatcliffs character. The central idea is focused in sentence `` before passing the threshold I paused to admire a quantity of grotesque carving lavished over the front, and especially about about principal door; above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date ``1500``, and the name ``Hareton Ernshaw``. The main conflict of this extract is that owner of the Wuthering Heights is Heatcliff, but there is other name carved on its front.
The use of first person singular indicate that we deal with entrusted narrative.
Historicals: cullenders(),pewter dishes( ), jugs() tankards(), lurking (), knee-breeches( ), mug().
Metapho r: divine help ( ), anatomy lay bare,
Phraseological units: chatter of tongue, keep his hand out of the way
Comparison: stretching their limbs one way, as if craving alms( ).
Epithet: hale, sinewy( ), stormy, jutting(, ), crumbling(), shameless, stubborn, dark-skined, sympathy
20 D.H. Lawrence The Bride (My love looks like a girl tonight)
David Herbert Richards Lawrence (11 September 1885 2 March 1930) was an English author, poet, playwright, essayist and literary critic. His collected works represent an extended reflection upon the dehumanising effects of modernity and industrialisation.
Although best known for his novels, Lawrence wrote almost 800 poems, most of them relatively short. His early works clearly place him in the school of Georgian poets, a group not only named after the reigning monarch but also to the romantic poets of the previous Georgian period whose work they were trying to emulate.
In this poem the admirer describes the synthetic youthful beauty of his love who rests in peace. Her face and pose have been prepared to look serene, even hopeful, like that of a bride doll. The admirer seems so pleased that she has finally become her dream passive feminity incarnate.
The poem is one of the early Lawrences works. In The Bride we see the mothers death and the sons ineffable () bereavement ().
I have found such stylistic devices and expressive means on:
1. Phonetic level: Versification (Iambic pentameter), full rhyme (old-gold-cold, closed-composed, sings-evenings), incomplete rhyme (pillow-silver, fair-rare, dreams-things). The rhymes models are cross (first and second stanza) and couplet (third stanza). There is alliteration L |l| (first stanza).
2. Morphological level: Emphatic word she, a lot of adjectives.
3. Lexicological level: Poetic words (brow, bride), neologism (winsome), archaic word (Nay=no, maiden)
4. Semasiological level: simile (like a girl tonight, like a young maiden, like a bride, like thrushes in clear evenings), epithets, antithesis (her dead mouth sings)
5. Syntactical level: repetition (dreams her dreams), anadiplosis (the end at the beginning of the next sentence)??? in this poetry the end of the sentence is at the beginning of the next line.
22.How long have you know him? Whats he like?
Since Christmas. Hes from Seattle
This text is an extract from story by O. Henry. O. Henry was the pseudonym of the American writer William Sydney Porter (September 11, 1862 June 5, 1910). O. Henry's short stories are well known for their wit (), wordplay, warm characterization and clever twist () endings. This extract belongs to belletristic style. Its prose. Plot of the story is simple, events are realistic. There is the 1st person narrator. He is omniscient. The author is participant of following events. The 1st person singular pronouns indicate that we deal either with entrusted () narrative or with personages uttered (complete) monologue.
Semantic analysis: All words in this text we can divide into 2 groups: words of the general language (almost all words in the text), such as: spend, friends, good, work weeks, house and many others; second group general scientific vocabulary, I think! presents next words: gastroenterostomies ( ), nurse, money, an alienist (). There are any terms in this paragraph.
Such words as: found out, went out, all the time and came up can be referred to phrasal verb
Phraseological units had a golf stick in his hand, quit type, dry sense of humor.
Colloquial or spoken: by any chance - ask politely; loads (informal, familiar) - lot of; like that in a similar way; hes; Ive; dont.
There are some bookish word-combinations, such as: friends of mine my friends,
Syntax: Almost the whole this text is constituted by long and complicated sentences, which are characterized by monotony rhythm. But there are some short sentences, such as: No, not bored, he said. Just cockeyed. And he was. Cockeyed. A lot of sentences are declarative which describe some past events. Only few are interrogative. It was used Past Simple, Past Perfect, Past Continuous Tenses in the text. Only two final sentences have Present Simple and Present Continuous. The change of tenses registers in the chronology of narrated events.
Semasiology:
Epithet: marvelous basket-ball, homely, dry sense of humor
Metonymy: Dartmouth Dartmouth college,
23. There is no month by Charles Dickens
Charles Dickens (1812-1870) was a 19th century English writer who wrote such classics as: A Christmas Carol, Oliver Twist, David Copperfield, A Tale Of Two Cities, Great Expectations, and many others. The Posthumous Papers of the Pickwick Club (commonly known as The Pickwick Papers) is the first novel by Charles Dickens. Written for publication as a serial, The Pickwick Papers is the adventure novel. The action is given as occurring 1827-8. The novel's main character, Mr Samuel Pickwick is a kind and wealthy old gentleman, and the founder and president of the Pickwick Club. To extend his researches into the quaint phenomena of life, he suggests that members of his club should make journeys to remote places from London and report on their findings.
The text under stylistic analysis is taken from the book The Pickwick papers written by Charles Dickens. According to the degree that the narrative focuses here we see a third- person narrator (omniscient third-person narrator)
The author is told us about autumn coming, August in particular, his best season.
At the beginning of the story we can see a short description of the seasons and monthes. So, for the author autumn is the ideal weather.
Phonetical level:
Alliteration: the influen c e of the s ea s on ss eem s to e x tend it s elf
Assonance: sweet-sm e lling flow e rs--wh e n the r e coll e ction
Lexical stylistic devices:
Personification: nature wearsappearance
Epithets: beautiful appearance, many beauties, green fields, clear skies, sweet-smelling flowers, bleak winds, winter season, pleasant time, thick clusters, rich fruit, golden hue, mellow softness, slow motion, harsh sound
figurative epithet: a fresh and blooming month,
Metonymy: hum of labour( ), corn)(
Simile: has faded from our minds as completely as they have disappeared from the earth
Phraseological units: recollection of has faded from our minds(means to forget), hang over the earth ( ), strike upon the ear( )
Foreign words: the charm from Old French charme, wagon from Dutch wagen, graceful from Old French grace
Synonyms: has faded from our minds, have disappeared from the earth
Terms: sickle (), sheave () wagon (\ )
Syntactical level:
Whole the extract of the text consists of long and complicated sentences, they are compounds and complex connected with help of conjunctions (and, that, as) or without them. Only one sentence is simple: August has no such advantage. All are declarative.
Enumerations: 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. With the help of enumerations the author created the effect of great quantity.
24
Hemingway
This text belongs to the belletristic style. The text is reading in the 1st person singular point of view. Subjective narrator.
Phonetical level:
-alliteration [s], (fast flowing stream, Fascist positions, swimming. Circumstances), [l] (chilly, completely, [t], (fast stream, entered the water it felt pleasant).
-onomatopie indirect (tinkled down).
-hyphen (sandbagged-fronted, deep-sided)
-question mark (This brought a reprimandget the maschineguns turned on us?)
Morphological
-enumeration (cordials, whiskys, vemouths.)
-possessive case (athlets foot)
-comparison (the bigger kind)
-emphatic constructions (There is,,, That is.. there is these are)
-Repetition extended (last shell that hit this hotel, trench raiding, tranch mortar strafing, chilly, chiller, chilly).
Lexicological
-fixed phrases (spill it on ones clothes, to get out of, turned on, rolled up, alighted on, slowed down, hitting it on, dropped into)
-exotic words (Guenca)
-army terms (bullet, hit, shell,battery)
-biological terms (snake, trout, watersnake, grasshoppers)
Semasiological
-simile (battery came like a subway train, as deep as though,)
-synechdochy (last shell tha hits this hotel)
Metaphor simple (optimism reaches, water felt rather pleasant,)
-epithet (whistling roar, Madrid is quiet, active front, beautiful weather, crowds are cheerfull, small river, fast flowing stream, heavy old deep-sided, paving stone)
Syntactical
-declarative sentence
-compound sentence
-anaphora (picked him and is comforting him).
27.The text under consideration is a part of a well-known novel Darkness Visible written by William Golding,
famous British author. This text bears all the peculiarities of the authors individual style: it is concerned with the ambiguity of moral issues, the difficulty of judgement, and breaking down the partitions that isolate men and prevent them from feeling a sense of community.
The story is being told in the third person singular that makes the whole narration quite objective. The text of the extract is homogeneous: the authors narration is not interrupted.
The composition of the whole passage is rather simple. The extract can be divided into smaller fragments two paragraphs, each dealing with the main theme and having a certain function in the development of the narration of the whole novel. The main theme of the novel is the World War II and the hell of human condition in the hell of the war. The author tried to depict the terrible picture of the war: bombing, crashed ship, fire, colours of blood, evil. In both paragraphs we can observe the descriptions of the sky full of smoke and streets without people. The second paragraph presents us the image of the moon. This sentence is considered to be the climax of the given extract: High above the glare and visible now for the first time between two pillars of lighted smoke was steely and untouched round of the full moon the lovers, hunters, poets moon;.
The effect of the text is achieved with the help of various stylistic devices and expressive means which make the story interesting and absorbing.
Speaking about the first level phonographic, we should point out the following means as alliteration, e.g.: barrage balloons, and assonance, e.g.: streets of mean, where there, as many languages, five-mile-high. They give to the text the definite emotional and expressive colouring.
The second is the lexical level which presents the lexical analysis: the analysis of words, word-combinations, idioms, phraseological units. The words of the given extract are stylistically loaded. The author trying to represent the frightful picture used derivatives and compound words: walled-off, warehouses, searchlight, emptiness, disappeared, untouched. There are several set-phrases in the text: out of control, beyond the capacity. In general we can say that the author used common literary word-stock.
The morphological level of analysis is represented by the usage of specific tense forms. In the given text Present Simple changes with Past Perfect. These changes depend on the chronology of narrated events. The usage of Present Simple creates the effect of immediate presence, signifies the importance of events.
Stylistic devices and expressive means on the syntactic level are based on the syntactic structure of the sentences. The author used the following expressive mean as repetitions: two pubs and two shops; a new function and a new title.
Enumerations: among the wall-off rectangles of water, the warehouses, railway lines and travelling cranes; the lovers, hunters, poets moon. With the help of enumerations the author created the effect of great quantity.
Parenthesis: 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 men at the edge of the fire could only watch it burn, out of control.
The semantic level of analysis is the most plentiful. There are a great number of stylistic devices and expressive means in the text which make the narration more colourful and emotional. The number of stylistic devices and expressive means is employed by the writer to describe the evil of the war. Metaphors: moon an ancient and severe goddess; the bulk of tramp steamers hung over the houses; the bombs came down; the drone of the bombers was dying away; ship had a few spectators; the shivering of the white heart of the fire.
Metonymy: Saffron and ochre turned to blood-colour; steely and untouched round of the full moon; chalky lights; pink aura; outrageous glare, faint white beams of searchlights, the whole area had been evacuated officially, the men at the edge of the fire.
Synonyms: die away disappear, quicken spread, hit strike.
Gradation is also can be found in the text to show the increasing degree of intensity: the great fire was bright as ever, brighter perhaps.
Taken together, all of these phonetic, morphological, lexical and syntactical means create a special atmosphere, threatening and frightful image of war, evil, hell that any war brings.
