Part VI. Functional Styles of the English Language 10 страница

"Poor doll's dressmaker! How often so dragged down by hands that should have raised her up; how often so misdirected when losing her way on the eternal road and asking guidance. Poor, little doll's dressmaker". (Dickens)

This compositional pattern of repetition is called framing. The semantic nuances of different compositional structures of repetition have been little looked into. But even a superficial examination will show that framing, for example, makes the whole utterance more compact and more complete. Framing is most effective in singling out paragraphs.

Among other compositional models of repetition is linking or reduplication (also known as anadiplosis). The structure of this device is the following: the last word or phrase of one part of an utterance is repeated at the beginning of the next part, thus hooking the two parts together. The writer, instead of moving on, seems to double back on his tracks and pick up his last word.

"Freeman and slave... carried on an uninterrupted, now hidden, now open fight, a fight that each time ended, either in a revolutionary re-constitution of society at large, or in the common ruin of the contending classes." (Marx, Engels)

Any repetition of a unit of language will inevitably cause some slight modification of meaning, a modification suggested by a noticeable change in the intonation with which the repeated word is pronounced.

Sometimes a writer may use the linking device several times in one utterance, for example:

"A smile would come into Mr. Pickwick's face: the smile extended into a laugh: the laugh into a roar, and the roar became general." (Dickens)

"For glances beget ogles, ogles sighs, sighs wishes, wishes words, ^K and words a letter." (Byron)

This compositional pattern of repetition is also called c h a i n-r e p-e t i t i o n.

What are the most obvious stylistic functions of repetition?

The first, the primary one, is to intensify the utterance. Intensification is the direct outcome of the use of the expressive means employed in ordinary intercourse; but when used in other compositional patterns, the immediate emotional charge is greatly suppressed and is replaced by a purely aesthetic aim, as in the following example:

THE ROVER

A weary lot is thine, fair maid,

A weary lot is thine! To pull the thorn thy brow to braid,

And press the rue for wine. A lightsome eye, a soldier's mien

A feather of the blue, A doublet of the Lincoln green— No more of me you knew My Love!

No more of me you knew. (Walter Scott)

The repetition of the whole line in its full form requires interpretation. Superlinear analysis based on associations aroused by the sense of the whole poem suggests that this repetition expresses the regret of the Rover for his Love's unhappy lot. Compare also the repetition in the line of Thomas Moore's:

"Those evening bells! Those evening bells!"

Meditation, sadness, reminiscence and other psychological and emotional states of mind are suggested by the repetition of the phrase with the intensifier 'those'.

The distributional model of repetition, the aim of which is intensification, is simple: it is immediate succession of the parts repeated.

Repetition may also stress monotony of action, it may suggest fatigue, or despair, or hopelessness, or doom, as in:

"What has my life been? Fag and grind, fag and grind. Turn the wheel, turn the wheel." (Dickens)

Here the rhythm of the repeated parts makes the monotony and hopelessness of the speaker's life still more keenly felt.

This function of repetition is to be observed in Thomas Hood's poem "The Song of the Shirt" where different forms of repetition are employed.

"Work—work—work!

Till the brain begins to swim! Work—work—work

Till the eyes are heavy and dim! Seam, and gusset, and band,

Band, and gusset and seam,— Till over the buttons I fall asleep,

And sew them on in a dream."

Of course, the main idea, that of long and exhausting work, is expressed by lexical means: work 'till the brain begins to swim' and 'the eyes are heavy and dim', till, finally, 'I fall asleep.' But the repetition here strongly enforces this idea and, moreover, brings in additional nuances of meaning.

In grammars it is pointed out that the repetition of words connected by the conjunction and will express reiteration or frequentative action. For example:

"Fledgeby knocked and rang, and Fledgeby rang and knocked, but no one came."

There are phrases containing repetition which have become lexical units of the English language, as on and on, over and over, again and again and others. They all express repetition or continuity of the action, as in:

"He played the tune over and over again."

Sometimes this shade of meaning is backed up by meaningful words, as in:

I sat desperately, working and working.

They talked and talked all night.

The telephone rang and rang but no one answered.

The idea of continuity is expressed here not only by the repetition but also by modifiers such as 'all night'.

Background repetition, which we have already pointed out, is sometimes used to stress the ordinarily unstressed elements of the utterance. Here is a good example:

"I am attached to you. But / can't consent and won't consent and / never did consent and / never will consent to be lost in you." (Dickens)

The emphatic element in this utterance is not the repeated word 'consent' but the modal words 'can't' 'won't' 'will', and also the emphatic 'did'. Thus the repetition here loses its main function and only serves as a means by which other elements are made to stand out clearly. It is worthy of note that in this sentence very strong stress falls on the modal verbs and 'did' but not on the repeated 'consent' as is usually the case with the stylistic device.

Like many stylistic devices, repetition is polyfunctional. The functions enumerated do not cover all its varieties. One of those already mentioned, the rhythmical function, must not be under-estimated when studying the effects produced by repetition. Most of the examples given above give rhythm to the utterance. In fact, any repetition enhances the rhythmical aspect of the utterance.

There is a variety of repetition which we shall call "root-repetition", as in:

"To live again in the youth of the young." (Galsworthy)

or, "He loves a dodge for its own sake; being...— the dodgerest of all the dodgers." (Dickens)

or, "Schemmer, Karl Schemmer, was a brute, a brutish brute." (London)

In root-repetition it is not the same words that are repeated but the same root. Consequently we are faced with different words 4iaving different meanings (youth: young; brutish: brute), but the shades of meaning are perfectly clear.

Another variety of repetition may be called synonymical repetition. This is the repetition of the same idea by using synonymous words and phrases which by adding a slightly different nuance of meaning intensify the impact of the utterance, as in

"...are there not capital punishments sufficient in your statutes?

Is there not blood enough upon your penal code?" (Byron)

Here the meaning of the words 'capital punishments' and 'statutes' is repeated in the next sentence by the contextual synonyms 'blood' and 'penal code'.

Here is another example from Keats' sonnet "The Grasshopper and the Cricket."

"The poetry of earth is never dead... The poetry of earth is ceasing never..."

There are two terms frequently used to show the negative attitude of the critic to all kinds of synonymical repetitions. These are pleonasm and tautology. The Shorter Oxford Dictionary defines pleonasm as "the use of more words in a sentence than are necessary to express the meaning; redundancy of expression." Tautology is defined as "the repetition of the same statement; the repetition (especially in the immediate context) of the same word or phrase or of the same idea or statement in other words; usually as a fault of style."

Here are two examples generally given as illustrations:

"It was a clear starry night, and not a cloud was to be seen." "He was the only survivor; no one else was saved."

It is not necessary to distinguish between these two terms, the distinction being very fine. Any repetition may be found faulty if it is not motivated by the aesthetic purport of the writer. On the other hand, any seemingly unnecessary repetition of words or of ideas expressed in different words may be justified by the aim of the communication.

For example, "The daylight is fading, the sun is setting, and night is coming on" as given in a textbook of English composition is regarded as tautological, whereas the same sentence may serve as an artistic example depicting the approach of night.

A certain Russian literary critic has wittily called pleonasm "stylistic elephantiasis," a disease in which the expression of the idea swells up and loses its force. Pleonasm may also be called "the art of wordy silence."

Both pleonasm and tautology may be acceptable in oratory inasmuch as they help the audience to grasp the meaning of the utterance. In this case, however, the repetition of ideas is not considered a fault although it may have no aesthetic function.

Enumeration

Enumeration is a stylistic device by which separate things, objects, phenomena, properties, actions are named one by one so that they produce a chain, the links of which, being syntactically in the same position (homogeneous parts of speech), are forced to display some kind of semantic homogeneity, remote though it may seem.

Most of our notions are associated with other notions due to some kind of relation between them: dependence, cause and result, likeness, dissimilarity, sequence, experience (personal and/or social), proximity, etc.

In fact, it is the associations plus social experience that have resulted in the formation of what is known as "semantic fields." Enumeration, as an SD, may be conventionally called a sporadic semantic field, inasmuch as many cases of enumeration have no continuous existence in their manifestation as semantic fields do. The grouping of sometimes absolutely heterogeneous notions occurs only in isolated instances to meet some peculiar purport of the writer.

Let us examine the following cases of enumeration:

"There Harold gazes on a work divine,

A blending of all beauties; streams and dells,

Fruit, foliage, crag, wood, cornfield, mountain, vine

And chiefless castles breathing stern farewells

From grey but leafy walls, where Ruin greenly dwells." (Byron)

There is hardly anything in this enumeration that could be regarded as making some extra impact on the reader. Each word is closely associated semantically with the following and preceding words in the enumeration, and the effect is what the reader associates with natural scenery. The utterance is perfectly coherent and there is no halt in the natural flow of the communication. In other words, there is nothing specially to arrest the reader's attention; no effort is required to decipher the message: it yields itself easily to immediate perception.,;

That is not the case in the following passage:

"Scrooge was his sole executor, his sole administrator, his sole a$ 216 sign, his sole residuary legatee, his sole friend and his sole mourner." (Dickens)

The enumeration here is heterogeneous; the legal terms placed in a string with such words as 'friend' and 'mourner' result in a kind of clash, a thing typical of any stylistic device. Here there is a clash between terminological vocabulary and common neutral words. In addition there is a clash of concepts: 'friend' and 'mourner' by force of enumeration are equal in significance to the business office of 'executor', 'administrator', etc. and also to that of 'legatee'.

Enumeration is frequently used as a device to depict scenery through a tourist's eyes, as in Galsworthy's "To Let":

"Fleur's wisdom in refusing to write to him was profound, for he reached each new place entirely without hope or fever, and could concentrate immediate attention on the donkeys and tumbling bells, the priests, patios, beggars, children, crowing cocks, sombreros, cactus-hedges, old high white villages, goats, olive-trees, greening plains, singing birds in tiny cages, watersellers, sunsets, melons, mules, great churches, pictures, and swimming grey-brown mountains of a fascinating land."

The enumeration here is worth analysing. The various elements of this enumeration can be approximately grouped in semantic fields:

1) donkeys, mules, crowing cocks, goats, singing birds;

2) priests, beggars, children, watersellers;

3) villages, patios, cactus-hedges, churches, tumbling bells, sombreros, pictures;

4) sunsets, swimming grey-brown mountains, greening plains, olive-trees, melons.

Galsworthy found it necessary to arrange them not according to logical semantic centres, but in some other order; in one which, apparently, would suggest the rapidly changing impressions of a tourist,. Enumeration of this kind assumes a stylistic function and may therefore be regarded as a stylistic device, inasmuch as the objects in the enumeration are not distributed in logical order and therefore become striking.

This heterogeneous enumeration gives one an insight into the mind of the observer, into his love of the exotic, into the great variety of miscellaneous objects which caught his eye, it gives an idea of the progress of his travels and the most striking features of the land of Spain as seen by one who is in love with the country. The parts of the enumeration may be likened to the strokes of a painter's brush who by an inimitable choice of colours presents to our eyes an unforgettable image of the life and scenery of Spain. The passage itself can be likened to a picture drawn for you while you wait.

Here is another example of heterogeneous enumeration:

"The principal production of these towns... appear to be soldiers, sailors, Jews, chalk, shrimps, officers and dock-yard men." (Dickens, "Pickwick Papers")

Suspense

Suspense is a compositional device which consists in arranging the matter of a communication in such a way that the less important, descriptive, subordinate parts are amassed at the beginning, the main idea being withheld till the end of the sentence. Thus the reader's attention is held and his interest kept up, for example:

"Mankind, says a Chinese manuscript, which my friend M. was obliging enough to read and explain to me, for the first seventy thousand ages ate their meat raw." (Charles Lamb)

Sentences of this type are called periodic sentences, or periods. Their function is to create suspense, to keep the reader in a state of uncertainty and expectation.

Here is a good example of the piling up of details so as to create a slate of suspense in the listeners:

"But suppose it1 passed; suppose one of these men, as I have seen them,—meagre with famine, sullen with despair, careless of a life which your Lordships are perhaps about to value at something less than the price of a stocking-frame:—suppose this man surrounded by the children for whom he is unable to procure bread at the hazard of his existence, about to be torn for ever from a family which he lately supported in peaceful industry, and which it is not his fault that he can no longer so support;—suppose this man, and there are ten thousand such from whom you may select your victims, dragged into court, to be tried for this new offence, by this new law; still there are two things wanting to convict and condemn him; and these are, in my opinion,—twelve butchers for a jury, and a Jeffreys for a judged (Byron)

Here the subject of the subordinate clause of concession ('one of these men') is repeated twice ('this man', 'this man'), each time followed by a number of subordinate parts, before the predicate ('dragged') is reached. All this is drawn together in the principal clause ('there are two things wanting...'), which was expected and prepared for by the logically incomplete preceding statements. But the suspense is not yet broken: what these two things are, is still withheld until the orator comes to the words 'and these are, in my opinion.'

Suspense and climax sometimes go together. In this case all the information contained in the series of statement-clauses preceding the solution-statement are arranged in the order of gradation, as in the example above from Byron's maiden speech in the House of Lords.

The device of suspense is especially favoured by orators. This is apparently due to the strong influence of intonation which helps to create the desired atmosphere of expectation and emotional tension which goes with it.

A proposed law permitting the death penalty for breaking machines (at the time of the Luddite movement).

Suspense always requires long stretches of speech or writing. Sometimes the whole of a poem is built on this stylistic device, as is the case with Kipling's poem "If" where all the eight stanzas consist of i/-clauses and only the last two lines constitute the principal clause.

"If you can keep your head when all about you

Are losing theirs and blaming it on you,

/f you can trust yourself when all men doubt you

And make allowance for their doubting too,

// you can dream and not make dreams your master, // you can think and not make thoughts your aim,

Yours is the earth and everything that's in it,... And which is more, you'll be a Man, my son." This device is effective in more than one way, but the main purpose is to prepare the reader for the only logical conclusion of the utterance. It is a psychological effect that is aimed at in particular.

A series of parallel question-sentences containing subordinate parts is another structural pattern based on the principle of suspense, for the answer is withheld for a time, as in Byron's "The Bride of Abydos": "Know ye the land where the cypress and myrtle... Know ye the land of the cedar and vine...

'Tis the clime of the East — 'tis the land of the Sun." The end of an utterance is a specially emphatic part of it. Therefore if we keep the secret of a communication until we reach the end, it will lead to concentration of the reader's or listener's attention, and this is

the effect sought.

One more example to show how suspense can be maintained:

"Proud of his "Hear him!" proud, too, of his vote, And lost virginity of oratory, Proud of his learning (just enough to quote) He revel I'd in his Ciceronian glory." (Byron) It must be noted that suspense, due to its partly psychological nature (it arouses a feeling of expectation), is framed in one sentence, for there must not be any break in the intonation pattern. Separate sentences would violate the principle of constant emotional tension which is characteristic of this device.

Climax (Gradation)

C I i ma x is an arrangement of sentences (or of the homogeneous parts of the sentence) which secures a gradual increase in significance, importance, or emotional tension in the utterance, as in:

"It was a lovely city, a beautiful city, a fair city, a veritable gem of a city." or in:

"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)

Gradual increase in emotional evaluation in the first illustration and in significance in the second is realized by the distribution of the corresponding lexical items. Each successive unit is perceived as stronger than the preceding one. Of course, there are no objective linguistic criteria to estimate the degree of importance or significance of each constituent. It is only the formal homogeneity of these component parts and the test of synonymy in the words 'lovely', 'beautiful', 'fair,' 'veritable gem, in the first example and the relative inaccessibility of the barriers 'wall', 'river', 'crags', 'mountains' together with the epithets 'deep and wide" 'horrid', 'dark and tall' that make us feel the increase in importance of each.

A gradual increase in significance may be maintained in three ways: logical, emotional and quantitative.

Logical climax is based on the relative importance of the component parts looked" at from the point of view of the concepts embodied in them. This relative importance may be evaluated both objectively and subjectively, the author's attitude towards the objects or phenomena in question being disclosed. Thus, the following paragraph from Dickens's "Christmas Carol" shows the relative importance in the author's mind of the things and phenomena described:

"Nobody ever stopped him in the street to say, with gladsome looks, 'My dear Scrooge, how are you? When will you come to see me?' No beggars implored him to bestow a trifle, no children asked him what it was o'clock', no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blind men's dogs appeared to know him, and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails, as though they said, 'No eye at all is better than an evil eye, dark master!'"

The order of the statements shows what the author considers the culmination of the climax. The passage by Dickens should be considered "subjective", because there is no general recognition of the relative significance of the statements in the paragraph. The climax in the lines from Byron's "Ne barrier..." may be considered "objective" because such things as 'wall', 'river', 'crags', 'mountains' are objectively ranked according to their accessibility.

Emotional climax is based on the relative emotional tension "produced by words with emotive meaning, as in the first example with the words ‘lovely’, ‘beautiful’, and ‘fair’.

Of course, emotional climax based on synonymous strings of words with emotive meaning will inevitably cause certain semantic differences in these words — such is the linguistic nature of stylistic synonyms —, but emotive meaning will be the prevailing one.

Emotional climax is mainly found in sentences, more rarely in longer syntactical units. This is natural. Emotional charge cannot hold long. As becomes obvious from the analysis of the above examples of climatic order, the arrangement of the component parts call for parallel construction which, being a kind of syntactical repetition, is frequently accompanied by lexical repetition. Here is another example of emotional climax built on this pattern:

"He was pleased when the child began to adventure across floors on hands and knees; he was gratified, when she managed the trick of balancing herself on two legs; he was delighted when she first said 'ta-ta'; and he was rejoiced when she recognized him and smile at him." (Alan Paton)

Finally, we come to quantitative climax. This is an evident increase in the volume of the corresponding concepts, as in:

"They looked at hundreds of houses; they climbed thousands of stairs; they inspected innumerable kitchens." (Maugham) Here the climax is achieved by simple numerical increase. In the following example climax is materialized by setting side by side concepts of measure and time:

"Little by little, bit by bit, and day by day, and year by year the baron got the worst of some disputed question." (Uiclons) What then are the indispensable constituents of climax? They are:

a) the distributional constituent: close proximity of the component parts arranged in increasing order of importance or significance;

b) the syntactical pattern: parallel constructions with possible lexical repetition;

c) the connotative constituent: the explanatory context which helps the reader to grasp the gradation, as no... ever once in all his life, nobody ever, nobody, No bsggars (Dickens); deep and wide, horrid, dark and tall (Byron); veritable (gem of a city).

Climax, like many other stylistic devices, is a means by which the author discloses his world outlook, his evaluation of objective facts and phenomena. The concrete stylistic function of this device is to show the relative importance of things as seen by the author (especially in emotional climax), or to impress upon the reader the significance of the things described by suggested comparison, or to depict phenomena dynamically.1

1 Note: There is a device which is called a n t i c I i m a x.

The ideas expressed may be arranged in ascending order of significance, or they may be poetical or elevated, but the final one, which the reader expects to be the culminating one, as in climax, is trifling or farcical. There is a sudden drop from the lofty or serious to the ridiculous. A typical example is Aesop's fable "The Mountain in Labour".

"In days of yore, a mighty rumbling was hoard in a Mountain. It was said to be in labour, and multitudes flocked together, from far and near, to sec what it would produce. After long expectation and many wise conjectures from the bystanders — out popped, a Mouse!"

Here we have deliberate anticlimax, which is a recognized form of humour. Anticlimax is frequently used by humorists like Mark Twain and Jerome K. Jerome.

In "Three Men in a Boat", for example, a poetical passage is invariably followed by ludicrous scene. For example, the author expands on the beauties of the sunset on the river and concludes:

"But we didn't sail into the world of golden sunset: we went slap into that old punt where the gentlemen were fishing." Another example is:

"This war-like speech, received with many a cheer, Had filled them with desire of fame, and beer." (Byron)

Antithesis

In order to characterize a thing or phenomenon from a specific point of view, it may be necessary not to find points of resemblance or association between it and some other thing or phenomenon, but to find points of sharp contrast, that is, to set one against the other, for example: "A saint abroad, and a devil at home.'" (Bunyan) "Better to reign in hell than serve in heaven.''1 (Milton)

A line of demarcation must be drawn between logical opposition and stylistic opposition. Any opposition will be based on the contrasting features of two objects. These contrasting features are represented in pairs of words which we call antonyms, provided that all the-properties of the two objects in question may be set one against another, as 'saint'— 'devil', 'reign' — 'serve', 'hell' — 'heaven'.

Many word-combinations are built up by means of contrasting pairs, as up and down, inside and out, from top to bottom and the like.

Stylistic opposition, which is given a special name, the term antithesis is of a different linguistic nature: it is based on relative" 'opposition which arises out of the context through the expansion of objectively contrasting pairs, as in:

"Youth is lovely, age is lonely, Youth is fiery, age is frosty" (Longfellow)

Here the objectively contrasted pair is 'youth' and 'age', 'Lovely' and 'lonely' cannot be regarded as objectively opposite concepts, but being drawn into the scheme contrasting 'youth' and 'age', they display certain features which may be counted as antonymical. This is strengthened also by the next line where not only 'youth' and 'age' but also 'fiery' and 'frosty' are objective antonyms.

It is not only the semantic aspect which explains the linguistic nature of antithesis, the structural pattern also plays an important role. Antithesis is generally moulded in parallel construction. The antagonistic features of the two objects or phenomena are more easily perceived when they stand out in similar structures. This is particularly advantageous when the antagonistic features are not inherent in the objects in question but imposed on them. The structural design of antithesis is so important that unless it is conspicuously marked in the utterance, the effect might be lost.

It must be remembered, however, that so strong is the impact of the various stylistic devices, that they draw into their orbit stylistic elements not specified as integral parts of the device. As we have pointed out, this is often the case with the epithet. The same concerns antithesis. Sometimes it is difficult to single out the elements which distinguish it from logical opposition.

Thus in Dickens's "A Tale of Two Cities" the first paragraph is practically built on opposing pairs.

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, if was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we are all going direct the other way..." (Dickens)

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