Expressive means and stylistic Devices — страница 4

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two or more EM or SD meet at one point, it one utterance. Such clusters of SDs are called convergence. “Together each SD adds its expressivity to that of the others. In general, the effects of these SDs converge into one especially striking emphasis” (M. Riffaterre) For example: When everyone had recovered George said; “She put in her thumb and pulled out a plum”. Then away we were into our merciless hacking-hecking laughter again. (S.M.Maugham). Mushtipar opalarimiz, fidoyi yanga va singillarymiz tiriklikningtuganmas yumushlary deb o`n besh-yigirma yoshlaridayoq “Qush uyqu”, o`ttiz yoshlarida esa o`tin bo`lib qolmoqdalar…(Saodat jurnalidan) In this Uzbek examples mushtipar, fidoyi, yumush, qush uyqu, o`tin is convergence. In English examples we find the convergence

of several SDs: decomposition of a proverb (to put one’s thumb into smth), a bring case of an onomatopoeia in the function of an epithet (Hacking-hecking), inversion (adverbial modifier stand before the subject). “ … and heaved and heaved still unrestingly heaved the black sea as if its vast tides were a conscience. Here the convergence comprises repetition, inversion and simile”.5 II. Main part 2.1 Lexical Expressive Means and Stylistic Devices Transferred meaning is the interrelation between two types of the lexical meaning: dictionary and contextual. The contextual meaning always depends on the dictionary meaning. But when the deviation is very great that it ven causes an unexpected turn in the logical meaning, we register a stylistic device. In other words we may say:

when we witness two meanings of the word realized simultaneously we are confronted with a SD, where two meanings interact. 2.2 International mixing of the stylistic aspect of words Heterogeneity of the component parts of the utterance is the basis for a stylistic device called bathos. Unrelated elements are brought together as if they denoted things equal in rank or belonging to one class, as if they were of the same stylistic aspect. By being forcibly linked together, the elements acquire a slight modification of meaning. "Sooner shall heaven kiss earth—(here he fell sicker) Oh, Julia! What is every other woe? — (For God's sake let me have a glass of liquor; Pedro, Battista, help me down below) Julia, my love!—(you rascal, Pedro, quicker)— Oh, Julia!—(this curst

vessel pitches so)— Beloved Julia, hear me still beseeching!" (Here he grew inarticulate with retching.) Such poetic expressions as 'heaven kiss earth', 'what is every other woe'; 'beloved Julia, hear me still beseeching' are joined in one flow of utterance with colloquial expressions—'For God's sake; you rascal; help me down below', 'this curst vessel pitches so'. This produces an effect which serves the purpose of lowering the loftiness of expression, inasmuch as there is a sudden drop from the elevated to the commonplace or even the ridiculous. As is seen from this example, it is not so easy to distinguish whether the device is more linguistic or more logical. But the logical and linguistic are closely interwoven in problems of stylistics. Another example is the

following— "But oh? ambrosial cash! Ah! who would lose thee? When we no more can use, or even abuse thee!" ("Don Juan") Ambrosial is a poetic word meaning 'delicious',- 'fragrant', 'divine'. Cash is a common colloquial word meaning 'money', 'money that a person actually has', 'ready money'. Whenever literary words come into collision with non-literary ones there arises incongruity, which in any style is always deliberate, inasmuch as a style presupposes a conscious selection of language means. The following sentence from Dickens's "A Christmas Carol" illustrates with what skill the author combines elevated words and phrases and common colloquial ones in order to achieve the desired impact on the reader—it being the combination of the supernatural

and the ordinary. "But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for." The elevated ancestors, simile, unhallowed, disturb (in the now obsolete meaning of tear to pieces) are put alongside the colloquial contraction the Country^ (the country is) and the colloquial done for. This device is a very subtle one and not always discernible even to an experienced literary critic, to say nothing of the rank-and-file reader. The difficulty lies first of all in the inability of the inexperienced reader to perceive the incongruity bf the component parts of the utterance. Byron often uses bathos, for example,- "They grieved for those who perished with the cutter And also for the biscuit-casks and