William Shakespeare
SONNET 116
1. Let me not to the marriage of true minds.
2. Admit impediments. Love is not love.
3. Which alters when it alteration finds.
4. Or bends with the remover to remove.
5. O, no! It is an ever-fixed mark.
6. That looks on tempests, and is never shaken.
7. It is the star to every wandering bark.
8. Whose worth's unknown, although his height be taken.
9. Love's not Time's fool, though rosy lips and cheeks.
10. Within his bending sickle's compass come.
11. Love alters not with his brief hours and weeks.
12. But bears it out even to the edge of doom.
13. If this be error and upon me proved.
14. I never writ, nor no man ever loved.
SONNET 130
My mistress eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask’d, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.
2.2. Graphic Expressive Means
An Outline
1. Graphic expressive means (EM):
a) Italics;
b) Capitalization;
c) Spacing;
d) Hyphenation;
e) Steps;
f) Multiplication.
2. Graphon.
3. Stylistic functions of graphon and graphic EM.
Graphic EM refer to all changes of the type (italics, capitalization), spacing of graphemes (hyphenation, multiplication) and of lines (steps).
Italics are used to single out epigraphs, citations, foreign words, allusions serving the purpose of emphasis. Italics add logical or emotive significance to the words. E.g. “Now listen, Ed, stop that now. I’m desperate. I am desperate, Ed, do you hear?” (Dr.)
Capitalization is used in cases of personification making the text sound solemn and elevated or ironical in case of parody. E.g. O Music! Sphere – descended maid, // Friend of Pleasure, Wisdom’s aid! (W.Collins)
E.g. If way to the Better there be, it exacts a full look at the Worst. (Th.Hardy)
Capitalized words are italicized and pronounced with great emphasis.
E.g. I didn’t kill Henry. No, No! (D.Lawrence – The Lovely Lady)
E.g. “WILL YOU BE QUIET!” he bawled (A.Sillitoe – The key to the door) “Help, Help, HELP” (Huxley’s desperate appeal).
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Intensity of speech is transmitted through the multiplication: “Allll aboarrrd! ”- Babbit Shrieked.
Hyphenation of a word suggests the rhymed or clipped manner in which it is uttered:” e.g. “grinning like a chim-pan-zee” (O’Connor)
Hyphenation and multiplication:
Kiddies and grown-ups
Too-oo-oo,
We haven’t enough
to do-oo-oo.
Graphon (графон):
It is intentional violation of the graphical shape of a word (or word combination) used to reflect its authentic pronunciation, to recreate the individual and social peculiarities of the speaker, the atmosphere of the communication act (V.A.K.) (стилистически релевантное искажение орфографической нормы, отражающее индивидуальные или диалектные нарушения нормы фонетической). (I.V.A.)
Graphon indicates irregularities or carelessness of pronunciation, supplies information about the speaker’s origin, social and educational background, physical or emotional condition. It also individualizes the character’s speech, adds plausibility, vividness, memorability. Graphon is referred to all changes of the type (italics, CapiTaliSation), s p a c i n g of graphemes (hy-phe-na-ti-on, m-m-multiplication) and of lines (V.A.K.) E.g. “Alllll aboarrrrrrrd”.
Ex.: “ The b-b-b-ast - ud seen me c-c-coming ” (stumbling).
“ You don’t mean to thay that thith ith your firth time” (lisping).
“ Ah like ma droap o’Scatch, d’ye ken” (Scotch accent). – I like my drop of Scotch.
Ex.: “Hish mishish, it ish hish mishish. Yesh”. (J.B.Priestley)
E.g. I had a coach with a little seat in fwont with an iwon wail for the dwiver. (Dickens) – (с гашеткой впегеди для кучега).
E.g. You don’t mean to thay that thith ith your firth time. (D. Cusack).
It is used in contemporary prose in dialogical clichés: gimme, lemme, gonna, gotta, coupla, mighta, willya.
2.3. Morphological Level of Stylistic Analysis
An Outline
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Morphemic foregrounding:
1) Repetition of a morpheme;
2) Extension of morphemic valency.
Morphemic foregrounding is meant to add logical, emotive and expressive connotation. Morphemic foregroundingis realized through:
1) repetition of root and affixal morphemes
2) extention of morphemic valency.
Morphemic repetition is repetition of a morpheme, both root and affixal, to emphasize and promoteit (V.A.K.)
Extention of the morphemic valency causes the appearance of occasional words (fresh, original, lucid in the inner form and morphemic structure).
Repetition of root or affix morphemes stresses contrast, negation, absence of quality, smallness in words with the help of different affixes: anti -, a-; mis -, -ling, -ette: starling, kitchenette, disadvantage;
E.g. “She unchained, unbolted and unlocked the door. (A.Bennett)
“I’ll disown you, I’ll disinherit you, I’ll unget you.”
Extension of the normative valency adds emotive and evaluative connotational meaning in degrees of comparison of the occasional character:
“I love you mucher! Plenty mucher? Me toer!” (J.Br.)
“David, in his new grown-upness, had already a sort of authority.” (I.M.)
“I am not just talented. I am geniused.” (Sh.D.)
Occasional words (Nonce-words) are based on extension of the normative valency which results in the formation of new words. It is an effective way of using a morpheme for the creation of additional information. They are not neologisms in the true sense for they are created for special communicative situations only, and are not used beyond these occasions.
E.g. mother-in-lawed, not-thereness.
E.g. I am an undersecretary of an underbureau. (I.Shaw)
E.g. Parritt turns startledly. (E.O’Neill)
E.g. That was masterly. Or, should one say, mistressly. (A.Huxley)
Seminar 2
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