Caring is the art of sharing

Loving is the art of caring.

Sharing is the art of living. (W. A. Davies)

- Ordinary repetition has no definite place in the sentence: The repeated unit occurs in various positions to emphasize both the logical and the emotional meanings.

E.g.: Why can’t we be friends now?” said the other, holding him affectionately. “It’s what I want. It’s what you want. ” But the horses didn’t want it – they ran apart; the earth didn’t want it, sending up rocks through which riders must pass single file; the temples, the tanks, the jail, the palace, the birds, the Guest House, that came into view: they didn’t want it, they said in their hundred voices, “No, not yet,” and the sky said “No, not there. (E. M. Forster)

- Successive repetition – a string of closely following each other reiterated units (… a, a, a …) to signify the peak of the speaker’ emotions.

E g.: The big house, good-bye, good-bye, good-bye the silly handsome dreams.

- Tautological repetition – a repetition, which does not add to the contents of the sentence.

E.g.: “Do you remember our mosque, Mrs. Moore?” “ I do. I do,” she said, suddenly vital and young.

- Synonymous repetition – the repetition of synonyms to give a concrete and full description.

E.g.: “ Down with the English anyhow. That’s certain. Clear out, you fellows, double quick, I say. We may hate one another, but we hate you most. If I don’t make you go, Ahmed will, Karim will, if it’s fifty-five hundred years we shall get rid of you, yes, we shall drive every Englishman into the sea, and then” – he rode against him furiously – “and then,” he concluded, half kissing him, “you and I shall be friends”.

- Half repetition – the use of synonymous words, often with the same root.

E.g.: It is my love that keeps mine eyes awake;

My own true love that doth my rest defeat;

To play the watchman ever for my sake:

For thee watch I whilst thou dost wake elsewhere

From me far off, with others all to near. (W. Shakespeare)

Represented speech [·repri'zentid'spi:t©] – the presentation of a character’s thoughts, ideas, and feelings. It splits into the following types:

- Inner (Unuttered), which presents a character’s unspokenthoughts and feelings. It abounds in exclamatory words and phrases, elliptical constructions, breaks, and other means of conveying the feelings and psychological state of the character.

E.g.: An idea had occurred to Soames. His cousin Jolyon was Irene’s trustee, the first step would be to go down and see him at Robin Hill. Robin Hill! The odd – the very odd feeling those words brought back. Robin hill – the house Bosinney had built for him and Irene – the house they had never lived in – the fatal house! And Jolyon lived there now! Hm! (J. Galsworthy)

It is usually introduced by verbs of mental perception, such as think, mediate, feel, occur, wonder, ask, tell oneself, understand, etc.

E.g.: Over and over he was asking himself: would she receive him? Would she recognize him? What should he say to her?

Why weren’t things going well between them?” he wondered.

- Uttered,which is a character’s actual utterance representation by the author as if it had been spoken, whereas it has not really been spoken. In it the tense is switched from present to past, and personal pronouns are changed from first and second to third person as in indirect speech, but the syntactical structure of the utterance does not change.

E.g.: Old Jolyon was on the alert at once. Wasn’t the “man of property” going to live in his new house, then? He never alluded to Soames now but under this title.

“No, - June said – “he was not; she knew that he was not!”

How did she know?

She could not tell him, but she knew. She knew nearly for certain. ”(J. Golsworthy)

Rhetorical question [ri'tŠrikl'kwest©ən] (from Greek ρήτωρ – “an orator”) – a statement reshaped into a question, generally a complex one: Without a subordinate clause a rhetorical question would lose its specific quality and might be regarded as an ordinary question. Rhetorical questions are often asked in distress, or anger.

E.g.: What have I done to deserve this? (The implication: I have done nothing to deserve this.)

What shall I do when he comes? (The implication: I do not know what to do when he comes.)

Rhetorical questions can be based on negation. There is always an additional shade of meaning implied in such rhetorical questions: doubt, assertion, or suggestion. In this case it may be a simple sentence.

E.g.: Have I not had to wrestle with my lot?

Have I not suffered things to be forgiven? (G. G. Byron)

Rhyme ['raim] (from Greek ρυθμός – “proportionality”) – the repetition of identical/similar ending sound combinations. The types of rhyme:

- Male (Masculine/Single), ending in stressed syllables.

E.g.: under stand – hand.

- Female (Feminine/Double), ending in unstressed syllables.

E.g.: be rry – me rry.

- Triple (Treble/Dactylic), ending in a stressed syllable followed by two unstressed ones.

E.g.: ten derly – slen derly.

- Full (Exact/Perfect), in which the ending syllables are identical.

E.g.: m ight – r ight.

- Incomplete (Half/Near), in which the ending syllables are not identical. Incomplete rhyme splits into the following subtypes:

- Vowel, in which the vowels are identical, but the consonants are different.

E.g.: fr esh – pr ess;

- Consonant, in which the consonants are identical, but the vowels are different.

E.g.: fl ung – l ong.

- Compound (Broken), in which one word rhymes with a combination of words, or two or three words rhyme with the corresponding two or three words. The combination of words is made to sound like one word, thus producing a humorous effect.

E.g.: a tall – at all.

- Eye (Sight), in which the letters are identical but the sounds they produce are different.

E.g.: l ove – pr ove.

- Internal, in which the rhyming words are placed within one line.

E.g.: I bring fresh showers for the thirsting flowers. (P. B.Shelley)

- Initial, in which the last word of one line rhymes with the first word of the following line.

E.g.: The sunlight on the garden

Hardens and grows cold … (L. Macnis)

- Adjacent, in which the lines are placed according to the pattern aabb.

- Crossing, in which the lines are placed according to the pattern abab.

- Ring, in which the lines are placed according to the pattern abba.

Rhythm ['ri„əm] (from Greek ρυδμός – “proportionality”) – the measured flow of stressed and unstressed syllables in poetry; and the repetition of similar structural units in prose.

Sentence length. The length of any language unit is a very important factor in information exchange, for the human brain can receive and transmit information only if the latter is punctuated by pauses.

Theoretically speaking, a sentence can be of any length, so even monstrous constructions of several hundred words each should be viewed as sentences. But psychologically no reader is prepared to perceive as a syntactical whole those sentences in which the punctuation mark of a full stop comes after the 124^th word (J. C. Oates Expensive People), or after 45 whole pages of the text (J. Joyce Ulysses). Though it is very difficult to specify the upper limit of sentence length, its lowest mark is one word.

One-word sentences possess a very strong emphatic impact, for their only word obtains both the word and the sentence stress.

E.g.: They could keep the Minden Street Shop going until they got the notice to quit. Or they could wait and see what kind of alternative premises were offered. If the site was good. – If. Or. And, quite inevitably, borrowing money. (J. Braine)

Abrupt changes from short sentences to long ones and then back again, create a very strong effect of tension and suspense, for they serve to arrange a nervous, uneven, ragged rhythm of the utterance.

E.g.: “Jesus Christ! Look at her face!” Surprise. “Her eyes are closed!” Astonishment. “She likes it!” Amazement. “Nobody could take my picture doing that!” Disgust. (R. Wright)

Sentence structure. The expressiveness of sentences depends on the position of constituting it clauses. Depending on the position of clauses sentences split into:

- Loose, opening with the main clause followed by dependent units. Such a structure is not very emphatic and highly characteristic of informal writing and conversation.

- Periodic, opening with subordinated clauses, absolute and participial constructions, the main clause being withheld until the end. Such a structure is known for emphasis and is used mainly in creative prose.

Cf.: We were deeply impressed by this vigorous survival of an older civilization, when we visited Taos Pueblo (loose structure). When we visited Taos Pueblo, we were deeply impressed by the vigorous survival of an older civilization (periodic structure).

Shaped (Visual) text ['©eipt'tekst] – a text, in which the lines/words form a recognizable shape (figure), such as a cross, a star, a heart, a triangle, etc. usually to reflect the contents.

E.g. the following poem is shaped as a tree:

Дата добавления: 2014-12-29